REVITALISATION THROUGH ARTS AND CULTURE New Developments for 5 European Industrial Complexes Content

2 Foreword 54 Leipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space: 4 I. Cultural and Creative Regeneration The Art Centre HALLE 14

6 Creative Cities: Vision, Enthusiasm and Reality 64 Venice | The Brain for Arts, Science and Klaus R. Kunzmann Culture: The Porta Nuova Tower

30 The Importance of Culture in Urban 72 Krakow | Education and Recreation: Regeneration Practices The Museum of Municipal Engineering Matjaž Uršicˇ 80 Ljubljana | RogLab – the factory that 40 II. Project Second Chance is making itself

42 Project Structure 90 Implementation of Second Chance

44 Introduction 92 Summary

46 Nuremberg | Culture-led Revitalisation for the 104 Imprint Benefit of the City and the Region as a Whole

This project is implemented through the CENTRAL EUROPE Programme co-financed by the European Regional Development Fund. Foreword Jürgen Markwirth

Dear Reader, The questions addressed in this brochure are of crucial importance for many local and regional authorities across Europe: How can we succeed in meeting important SECOND CHANCE – From Industrial Use to Creative Impulse. This slogan challenges, such as creating new employment and stimulating local economies encapsulates the vision of five European cities to bring new life to former within the context of the sustainable development of Europe and Agenda 2020? industrial sites and transform them into vital, creative and successful How can we reuse urban brownfields and integrate them with creative industries cultural spaces. as a means for revitalising and modernising our cities? And last, but not least, how can cooperation between public and private partners as well as with other cities Over the past 50 years, the economic structure in Europe has changed from in Europe help us to achieve these objectives? We are delighted that the guest an industrial, manufacturing-based economy to a post-industrial, service- authors Prof. Dr. Klaus R. Kunzmann (DE) and Dr. Matjaž Uršicˇ (SI) have agreed to based economy, with significant effects on the labour market. contribute to this publication and to help in our search for answers.

Since the 1990s, thousands of factories have been shut down and more than This publication summarises the outcomes of the project, highlighting the 50 % of the manufacturing jobs in Europe have been lost. Consequently, in strengths of the approaches taken, without glossing over the problems encoun- every country and almost every city of Europe, one can find brownfield areas tered during project realisation. In our experience, the best answers and solutions in need of revitalisation providing opportunities to preserve or improve the result from transnational cooperation, the study of best practices and exchange quality of urban living space. Within the Central European project SECOND at the European and international level. We hope that this brochure will CHANCE, public, public-equivalent and private partners from Krakow (PL), encourage cities and cultural entrepreneurs to give more brownfields in Europe Leipzig (DE), Ljubljana (SI), Nuremberg (DE) and Venice (IT) have developed a ’second chance‘. innovative concepts and strategies to transform derelict sites into cultural linchpins of their cities, while at the same time enhancing the attractiveness Jürgen Markwirth of the neighbourhoods where the sites are located and spurring urban Head of the Department for Culture and Leisure, City of Nuremberg regeneration in these areas. Head of the SECOND CHANCE project

2 3 I. Cultural and Creative Regeneration

4 5 ExposéKlau Tues R. Kunzmann Creative Cities: Vision, Enthusiasm and Reality

At the turn of the millennium, urban planners in Europe and beyond preached the paradigm of sustainable urban development with missionary fervour. Their aspiration was to integrate environmental concerns in their planning approaches. They sought to protect greenfields through legal regulation and postulated the re-use of derelict structures and brownfields. They preached the paradigm wher- ever they were able to find investors willing to bear higher costs of revitalisation. They favoured the compact city as a means of abolishing the functional division of space and for reducing the need for physical mobility. They promoted public transport to reduce car dependency, and they cheered the efforts of industries to invest in energy efficiency, low-emission cars and all kinds of green technologies that could contribute to the reduction of energy consumption in cities and their surrounding regions. However, the implementation of these and other sustain- Pages 4/5: Schiffbau in Zurich (CH), able development policies turned out to be much more difficult to put into a revitalisation project in an old industrial building, housing a theatre stage, jazz club, practice than anticipated. restaurants and flats, 2008 Page 6: Ningbo, China. Tiles from demolis- hed courtyard houses in Ningbo used for Moving from aspiration to practice, planners learned that implementation was the facades of the new museum–Ningbo constrained by the value systems of consumer-driven households and opposed Museum, built by local workers under the supervision of WANG Shu, the Pritzker by the neo-liberal stakeholders of market-driven economies. Given the complex- prize winner 2012. ity of sustainable development, and the formidable challenges of implementa- tion, it is not surprising that sustainability, over time, lost some of its attractive-

7 ness for urban planners and urbanists-turned-architects. They had to accept that 2005, 2008; Landry, 2003, 2006). The controversial and much discussed concept of the physical, spatial and design dimensions of sustainable development were just the creative class has thrilled (and amused, annoyed or upset) the community of one of many paths to achieving sustainability, and that other professions were architects, urbanists, planners, sociologists, economists and journalists world- much more successful in contributing to and accomplishing resource conserva- wide; Richard Florida justifies it as follows: tion in cities and regions. The economic need for creativity has registered itself in the rise of a new In searching for a way to deal with a growing discrepancy between vision, illusion class, which I call the Creative Class. Some 38 million Americans, 30 percent and reality, between ambition and practice, urbanists and planners identified of all employed people, belong to this class. I define the core of the Creative urban creativity as a new opportunity to be explored. This coincided with the fact Class to include people in science and engineering, architecture and design, that in the beginning of the 21st century, creativity became a much talked about education, arts, music and entertainment, whose economic function is to cre- concept in economic and social development circles across the world. Within a ate new ideas, new technology and/or new creative content. very short period of time, creative cities came to be to recognised as a new para- digm for city development, replacing the old vision of the sustainable city. The … Around the core, the Creative Class also includes a broader group of crea- new vision is a liveable and convivial city; one where culture is thriving and cul- tive professionals in business and finance, law, healthcare and related fields. tural events meet the demand for entertainment and educational advancement These people engage in complex problem solving that involves a great deal and where iconic cultural infrastructure attracts tourists. In this new vision, the of independent judgment and requires high levels of education or human city is where creative and cultural industries provide jobs to replace those lost as capital. a consequence of de-industrialisation and structural economic change. This is a city where design products and computer games are bought by local and regional In addition, all members of the Creative Class – whether they are artists or consumers and exported to the world. This great illusion reduced the new urban engineers, musicians or computer scientists, writers or entrepreneurs – share reality to a few urban spaces where features of this vision were tangible and vis- a common creative ethos that values creativity, individuality, difference and ible – city centres in larger metropolitan cities, creative quarters in gentrifying ur- merit. For the members of the Creative Class, every aspect and every manifes- ban neighbourhoods, waterfront developments replacing obsolete harbours and tation of creativity – technological, cultural and economic – is interlinked and urban pockets where planners, developers and squatters, invested time, money inseparable (Florida, 2002: 8). and passion into derelict industrial buildings and brownfields – though for quite different reasons – in order to turn them into creative locations. In short, From a European perspective this definition is very controversial, as it includes creativity has become a much-used buzzword in urban policy. only those who have successfully passed any form of undergraduate and gradu- ate higher education in any field of science and engineering, from law to medi- What were the reasons for this astonishingly sudden rise of the creative para- cine, from civil engineering to architecture. Many others are excluded, particularly digm? Why have creative cities become the darling of urban development? There craftsmen without an academic certificate, even though they are often more appear to be ten reasons why the creative city has become so popular. creative than bankers or lawyers or medical doctors.

1. The Globally Communicated Message of the Creative Class and These two best-selling and much translated books, together with subsequent the Creative City follow-up publications by both authors, have provided municipal and regional planners and policy makers with new hope for promoting creative urban develop- Ostensibly two books triggered and inspired the now global discourse on the ment. Not surprisingly, the books have caused continuous debate and generated creative city: Richard Florida’s empirical study of the rise of the (American) crea- controversies. They have been much criticised for their over-simplistic messages tive class and Charles Landry’s comprehensive account of creative projects in cit- and their non-transferable conclusions. Nevertheless, the books and the celebri- ies and the role of culture in future-oriented development of cities (Florida, 2002, ty-like global book-promotion tours of the authors, followed by translation into

8 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 9 other languages, have popularised concept of the creative class and creative city Another definition comes from Csikszentmihalyi; he says: the world over. No other discourse in the field of urban and regional development has succeeded in triggering a comparable worldwide movement in academia as Creativity is any act, idea, or product that changes an existing domain, or well as in policy arenas. Numerous research projects on the theme have been that transforms an existing domain into a new one. And the definition of a initiated. Hundreds of academic seminars and conferences in spatial planning, creative person is: someone whose thoughts or actions change a domain, or geography, social and cultural studies, urbanism and local urban or regional establish a new domain. It is important to remember, however, that a domain economic development have addressed the theme. More and more articles and cannot be changed without the explicit or implicit consent of a field responsi- books are now being written, and not just in the Anglophone world (Montgomery, ble for it (Csikszentmihalyi, 1996: 28). 2007; Ong, O’Connor, 2009), but also in Germany (Behr, et al., 1990; Kunzmann, 2004; Lange, et al., 2009), France (Vivant, 2009) and Italy (Carta, 1996, 2008). For Generally, creativity is seen as a positive concept, at least as long as it is not progressive newspapers and trendsetting-journals the creative city paradigm has connected to chaos, something that occasionally comes along with creativity. become a much-covered topic. In an increasingly complex and globalising world, Everybody wants to be creative. Creative people are admired: creative kids in which is experiencing increasing economic and social disparities, stories about kindergarten are commended, and creative students at universities are praised. creative action in cities are written and read by those seeking positive success Creative people are considered to be individuals who succeed in their profession stories. Even the sustainable development paradigm did not manage to generate and in their personal life. Artists, teachers, psychiatrists and business consultants such interest, enthusiasm and passion in the urban planning community. all conceive of creativity quite differently. For some, creativity is simply linked to the arts. For others it is a term describing the ability and capacity of someone to 2. The Broad and Open Concept of Creativity adapt to new conditions or to anticipate future developments – a researcher is creative when he or she explores unchartered territories in his or her discipline. The broad and open concept of creativity has fostered the rapid dissemination Obviously, there are infinite problems in city development to be handled with of the creative city paradigm. What is creativity? There are hundreds of books more or less creative ambition. Hence, the creative city is a city where action is telling readers how to be or become creative or more creative or how to succeed taken continuously to improve the quality of life of its citizens, attract investment in a profession with more creativity. It helps enormously that creativity is a rather and businesses and promote the city as a magnet for qualified labour, tourists, open concept and allows a broad range of interpretations. It seems that any ac- conventions and event organisers. tion that aims at solving a problem or improving a situation is seen as an act of creativity. Charles Landry describes the openness of the concept as follows:

Edward de Bono, one of the most prominent specialists in the field, defines the Creativity has different qualities. It goes with and against branded experience. fuzzy term creativity as follows: It subverts the readily accepted. It tests convention. It seeks to be its own author of experience, rather than have ‘experience’ imposed in a preabsorbed Creativity is a messy and confusing subject and seems to range from devising way. Experiences are often contained within a preordained template or theme a new toothpaste cap to Beethoven’s writing his Fifth Symphony. Much of that leaves little space for one’s own imagination. Instead, the city of creativ- the difficulty arises directly from the words ‘creative’ and ‘creativity’. At the ity wants to shape its own spaces. It relaxes into ambiguity, uncertainty and simplest level ‘creative’ means bringing into being something that was not unpredictability. It is ready to adapt (Landry, 2006: 14). there before. In a sense, ‘creating a mess’ is an example of creativity. The mess was not here before and has been brought into being. Then we ascribe some 3. Globalisation and the Search for Local Identity value to the result, so the ‘new’ thing must have a value. At this point we can begin to have artistic creativity because what the artist produces is new and In a rapidly urbanising and globalising world, local identity has become a pre- has value (de Bono, 1992: 3). cious asset. Local identity is deeply rooted in local and regional history, in cultural

10 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 11 quarters. Modernist flagship projects are commissioned in an effort to add a taste of uniqueness and increase the attractiveness of place. These signature archi- tecture projects distract from endogenous local identity rather than build on it. The occasional fake Dutch, Austrian, British or German townscapes in China are developed to attract Europhile investors, consumers and tourists. They indicate soul searching, which strives to compensate for the degradation of local identity. Pursuing the creative city concept is seen as a means for strengthening an exist- ing urban identity or profile, or even developing a new one.

4. The Emerging Cosmopolitan Knowledge Society

An alternative concept to the creative city is that of the knowledge city. This is linked to the growing role of innovation and advanced knowledge in post- industrial society, which involves innovative knowledge industries, institutions of higher education, and science and technology parks and clusters. Cities with a long tradition in higher education, science and research present themselves increasingly as knowledge cities. There is much overlap between knowledge cities 2006, Seoul, Korea. Art posters in one of the few remaining old quarters in Seoul and creative cities when comparing the location factors. The imagined target groups are almost identical and share a strong interest in easy access to broad spectrum of cultural facilities. In both cases, creative milieus are essential for traditions, in the visibility of local architecture and townscapes. Creative city professional work and advancement. Liveability of a city is a priority and a key concepts rely very much on local identity and cultural traditions. Uniqueness, vis- factor for wellbeing and happiness. In fact, by definition, the knowledge city has ibility and easy identification of a place make it easy for planners and city manag- to be a creative city. This is because the creative city will not sustain its creativity ers to opt for a creative city strategy. They provide the rhetoric and ingredients of without continuous innovative knowledge development. Creativity and knowl- successful city marketing campaigns and tourism brochures. There is one more edge are seen as two key components of 21st century city development strate- window of opportunity linked to identity for promoting the creative city con- gies aimed at attracting internationally mobile talent. cept. This is the re-discovery of local crafts as an important element of the new post-industrial urban economy and a means for enriching creative city strategies. 5. The Discovery of the Creative Economy There is a recognition that the products of local crafts, produced and traded in the Middle Ages all over Europe, add much to local identities. The link is to local New information and communication technologies and new logistics have cre- economic development and to the vision of locally rooted urban societies. ated new production systems and structural change. In Europe, with few excep- tions, traditional large-scale industries are gradually disappearing. They are in- The loss of local identity is experienced most acutely in rapidly urbanising Asia, creasingly replaced by small and medium-sized industries, shifting to specialised, where market led regional development strategies fail to recognise the impor- customised production, complemented by a wide range of production-oriented tance of local identity. Most newly emerging cities lack the spirit of local entity services. One of the fastest growing fields of service delivery is that of design and because they are hastily built by profit-seeking developers, who are aided and marketing responding to the growing demand of consumers for well-designed abetted by architects and urban planners dependent on developers. Traditional products. Beauty has been rediscovered as a value in post-industrial society. architecture, which as a rule does not meet modern functional requirements, Creative industries offer their competence in marketing well-designed products is torn down to make place for boulevards, shopping centres and high rise city in print and electronic media and in public and semi-public spaces around the

12 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 13 tion through the generation and exploitation of intellectual property. Creative industries are based on individuals with creative arts skills, in alliance with managers and technologists, making marketable products whose economic value lie in their cultural (or ‘intellectual’) properties (UK Department of Culture, Media and Sport, 2000).

The creative industries include:

›› advertising ›› architecture ›› crafts and designer furniture ›› fashion clothing ›› film, video and other audiovisual production ›› graphic design ›› educational and leisure software ›› live and recorded music 2006, Seoul, Korea. Converted center for art dealers. An umbrella installation in Ssamzie market in Insedong, an old gentrified city quarter of Seoul ›› performing arts and entertainments ›› television, radio and internet broadcasting ›› visual arts and antiques world. This has spurred the continuous growth of creative and cultural industries ›› writing and publishing. in cities and regions, gradually changing the structure of local economies. However, the definition of which branches belong to the creative and cultural Local and regional stakeholders making up the economic development com- industries is still disputed and varies from country to country. In France, for munity have only slowly become aware of this change (Myerscough, 1988; Heinze, example, segments of up-scale gastronomy are included in the creative economy, 1995; Howkins, 2001). The academic community has also neglected and tended whereas sports are included in Denmark. In Germany, creative and cultural in- to belittle the significance of this segment of the economy, focusing instead on dustries are defined in a different way. In addition to the broad and fuzzy field of macro-economic theories and econometric modelling. Nevertheless, in less than cultural industries as defined above, the gaming and software industries are also a decade, the creative economy has come to be recognised as a new field of included. An additional challenge in defining creative industries is the role and interest, providing new hope for local economies and jobs in times of deindustri- significance of creative crafts. alisation and the shifting industrial production to Asia. To what extent the definition really matters is subject to debate. This is because Until recently, no reliable data were available to appraise the scale and impact of the issue concerns typically those who have been commissioned to carry out the creative economy. This has been one reason, most likely, why the sector has empirical studies to support policy-making in arts and culture. Thus, in defining been ignored to date. As relevant data has become available, the situation has the sector, all kinds of compromises and interpretations are made in turning hard changed. As a rule the British definition of the creative economy is now taken as figures into soft arguments for the purposes of local and regional policies. Plan- a standard: ners in Europe have learned that it makes sense to adapt the definition to local conditions and to the respective local indigenous potential when promoting the Creative Industries are those activities which have their origin in individual creative economy in a city or region. creativity, skill and talent and which have a potential for wealth and job crea-

14 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 15 There is another reason why creative industries have garnered so much 7. Demographic Change, New Values and ‘Urban Renaissance’ interest in the developed world. In post-industrial times, modes of work and production are changing, and, with such change, location factors are adjust- Changing demographic structures and new values have considerable impact on ing. The traditional concept of separating workspaces and living spaces is no the locational behaviour of households in cities. In many city regions in Europe, longer valid. Creative industries favour inner-city locations where face-to-face suburban areas are stagnating. This results from a number of factors (Zukin, communication is easy and fast and where personal networks can be estab- 1988). A key factor is that the growing number of single-person households – in lished and maintained. These are creative milieus, which nourish innovation. many European cities their numbers are approaching more than 50 percent of Access to clients is comfortable where the connections can be made visible. the total number of households – and those of young, double-income house- City planners, promoting the 24-hour city and searching for new uses for holds with no kids opt for inner-city locations. They no longer wish to spend derelict inner-city buildings and brownfields, cheer on such development long hours in morning and afternoon traffic jams. They prefer living near their thinking. Similarly, the tourist industry has caught the creative industry fever, workplaces and having better access to inner-urban shopping and entertainment recognising that cultural quarters raise the attractiveness of the inner city for districts, knowledge complexes and creative quarters, as well as their work-relat- living and working, while generating a demand for local design products and ed networks and friends and colleagues. services. Senior citizens, in turn, suffer from growing isolation in suburban communities 6. The Return of Culture to the Political Agenda and from a gradual erosion of public and private services in such communities. Whenever they can afford it, senior citizens sell their suburban villas and return Driven by growing urban competition and higher educational levels of the to the urban quarters of densely built-up cities. There they have better access population, culture as a policy field in cities and regions receives more and to healthcare facilities and places where they can enjoy the amenities of urban more political attention and support. Cultural flagships, spectacular art life together with family and friends, without using a car. The growing number exhibitions, film festivals and the like have become important image and of highly-educated households with different value systems prefers the spirit of location factors for attracting qualified labour, media coverage and conven- urbanity to the burden of taking care of a suburban garden. The evolving cos- tions. Consequently, the modernisation and development of cultural infra- mopolitan mix of citizens in European cities is an additional factor that explains structure and the promotion of cultural festivals and events has become an the rediscovery of the virtues of urban life. All this leads to what is now branded important field of action in urban development. Prestigious museums, clus- as ‘urban renaissance’. Cultural infrastructure and creative quarters in inner-city ters of museums and art institutions are developed in specific locations. districts are intrinsic elements of this transformation. They trigger or speed-up the transformation of urban neighbourhoods into creative quarters, responding to the growing demand for space for creative 8. New Uses for Abandoned Industrial Structures and Derelict Brownfields industries. When searching for suitable locations for cultural and creative activities, obso- Although budgets for culture policies are not increasing, the new appreciation lete factories, warehouses, derelict industrial structures in the built-up urban for the developmental role of culture in cities prevents local policy makers landscape and the like are the preferred objects of desire of creative young from inflicting budget cuts in difficult economic times. In fact, even higher entrepreneurs, now often named ‘culturepreneurs’ (Lange, 2007). Usually, such education institutions active in the fields of fine and performing arts, music structures have a particular flair, character and profile. Often protected as in- or media and design are receiving increased public funding support. Private dustrial heritage, they have a different identity and appeal to architects, artists, sponsorship of the arts enhances further public policy to raise the cultural musicians and creative entrepreneurs. They differ from average office buildings profile of cities. All this is linked to the fact that the cultural life in a city – the or prefabricated production spaces and warehouses in industrial districts, and quality of its cultural infrastructure and events, as well as its cultural profile they offer flexible and, as a rule, affordable space. In many cases, such build- are essential elements of building local identity and global branding. ings have been illegally squatted by pioneering artists desperately looking for

16 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 17 experimental space and affordable studios for working. Initiated by the new There are many examples of how the creative city profile has helped build the occupants, such areas are often used as spaces for innovative cultural events, international image of a city. Berlin is a good example. Bilbao, Glasgow and Lille performances and one-off exhibitions. Once such structures are re-qualified are other examples. This is also there why should be growing interest of cities and revitalised by cultural activities, they become cultural hot spots in a city around the world in securing the UNESCO seal as a creative place, such as city of – magnets for communities of culture, for tourists and young entrepreneurs literature, city of music or city of design. In a similar vein, the growing competi- who are searching for spaces to start new production or services. They are fol- tion among cities to become Cultural Capital of Europe for a year, shows just how lowed gradually by architects, young developers, publishing outlets, and soon much the creative and cultural image of a city is now valued politically, culturally by clubs, coffee-shops and restaurants. In many cases, revitalisation of such and economically. The web-sites of self-proclaimed creative cities tell the story. districts is the result of grassroots action, associated often with media-covered conflicts between different user groups, activist groups, property owners and 10. The Opportunity to Bridge Urban Policies and the Revival of the city administration. Strategic Planning in Urban Development

Urban planners in more open and innovative cities encourage initiatives to sup- There is yet another reason why planners, policy advisors and city managers alike port the reuse of inner-urban brownfields for cultural and creative use. They have are so attracted to the creative city concept. The creative city paradigm promises recognised that a new cultural hot spot in a city is a good opportunity to raise the to bring together city planning, local economic planning and cultural develop- image of a run down district, which otherwise tends to become branded as a no- ment. Recognition that the aims of creative city development cannot be achieved go area. In this process, they have to face the fact that such developments tend to by disaggregated sectoral approaches means that cooperation must be enabled trigger and nourish gentrification processes, which, generate social controversies across all departments in the city. Thus the sectoral logic, which has to date sepa- and media-covered political conflicts (Smith, 1996). rated urban planning, local economic planning and cultural development, has to be overcome when selecting and implementing projects and programmes aimed 9. The Appeal of the Creative City Concept to Marketing and at creative city development. The common interest in revitalising a brownfield, Tourism Managers improving an urban piazza, launching a cultural festival or applying for a major cultural event, helps enormously in overcoming departmental jealousies in a city Not surprisingly, the creative city image thrills local tourist operators and and avoiding the red tape and communication strategies focused on defending urban marketing managers. They know that a creative city image, and all and promoting vested departmental interests. the fuzzy images linked to it, attracts journalists and media interest, tourist corporations mapping new targets for city tourism and convention manag- The creative city development provides a basis for much-need cooperation as it ers searching for suitable locations for international conventions. A creative is a much less ideologically loaded than other urban development concepts, such city is considered to be a particular strong magnet for young tourists, who as, for example, sustainable development. In this sense, the creative city concept wish to discover uncharted urban territories, beyond the conventional tourist offers a new rationale for initiating longer-term strategic planning in a city, which circuits. Special sponsoring programs, such as artist-in-residence schemes, is typically consumed by a day-to-day incrementalism. seek to attract young as well as renowned writers and artists, who seek crea- tive environments that will (they hope) help them find new inspiration for All these reasons – and probably there are even more – make the creative city a their artwork, musical compositions and literary writing – and provide new perfect plug-in concept for those who wish to promote their city as an attractive networks of like-minded people. Their success fuels the creative city, increas- and competitive place to live and work in the post-industrial era. They can use ing its attractiveness by communicating the uniqueness of the place. It is a the concept to offer a complex set of densely interwoven justifications. These self-reinforcing process, which has significant economic effects, particularly reasons explain why the creative city concept has received so much publicity in for the hospitality industries, cultural facilities and tourist-dependent souve- quite different academic communities and policy arenas and has transcended nir shops in a city. beyond cultural and language boundaries.

18 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 19 Metropolitan cities across Europe seem to have a particular interest in raising the leading edges of the post-Fordist economic revolution and can also be big the creative dimension of their city image, as they are convinced that such action business’ (Scott, 2000: cover). enhances positively their economic and social status. Cities such as Berlin, Paris, London, Amsterdam or Milan have all welcomed the new interest in the creative In his influential book, written in the same year, Charles Landry offers the follow- economy and refer increasingly to their historic role as centres of culture and ing definition of a creative place by referring to creative milieus: creativity. Even cities like Zurich, better known for their profile as banking centres, are now trying to incorporate the creative dimension into their local development A creative milieu is a place – either a cluster of buildings, a part of a city, a city strategies (Heider, et al., 2009). Smaller and medium-sized cities have been more as a whole or a region – that contains the necessary preconditions in terms of hesitant to follow the fashionable trend, unless they have been able to demon- ‘hard’ and ‘soft’ infrastructure to generate a flow of ideas and inventions. Such strate, like Salzburg, Florence or Aix-en-Provence, that culture and the arts have a milieu is a physical setting where a critical mass of entrepreneurs, intel- always been a key element of their city development. As a rule, smaller urban lectuals, social activists, artists, administrators, power brokers or students can centres have opted not to jump on the creative city bandwagon, claiming that operate in an open-minded, cosmopolitan context and where face to face good and creative governance committed to citizens and the local economy has interaction creates new ideas, artefacts, products, services and institutions always been essential for successful local urban development. and as a consequence contributes to economic success (Landry, 2000: 133).

This well-crafted definition, however, does not really indicate how to make a What Is a Creative City? creative city. This is done rather in an earlier study on which his book is based (Bianchini, et al., 1996). The ‘ingredients’, or criteria for assessing the creativity of A fundamental question has not yet been answered: What is a creative city? Can a city and, hence, the success factors of creative cities, are articulated as follows: a city as a whole be creative? Why are some cities considered to be creative and others not? Can a city be made to be more creative? Such questions need to be ›› Hard factors are a precondition to unleash potential creativity. Museums, asked, even though answers are not readily forthcoming. Some of the reasons for exhibition halls, theatres, concert halls and other visible elements of a city’s this situation have been given above. cultural history and profile as well as culture-related institutions like galler- ies, auction houses or educational institutions that are known beyond local One of the first attempts to study the importance of culture in urban develop- boundaries. ment was made as early as 1979 by Harvey Perloff for the city of Los Angeles. In ›› History. The cultural dimension of a city’s history; the urban heritage; his landmark study, The Arts in the Economic Life of a City, Perloff and his team citizens, particularly architects, artists, musicians or poets, who have been identified nine essential factors for a city aiming to communicate its paramount influential in advancing culture and creativity and whose names are closely role as a cultural centre in the emerging media-dominated world. These factors linked to the city. are knowledge, image, identity, cultural life, townscape, architecture, parks and ›› The importance of individuals. Local opinion leaders, stakeholders, political public spaces, urban heritage, and food and conviviality. In one way or another, all leaders, cultural stars, journalists, academics and personalities who serve as subsequent writings about the creative city come back to these factors, of course drivers for cultural development in the city. with different emphases (Perloff, 1979). ›› Open communication. The socially liberal climate of cosmopolitan milieus and open discourse in a city, allowing controversial communal dialogues and Another important book, which anticipated the later excitement about culture debates on cultural projects and issues. in urban policies as part of the economic dimensions of the city was The Cultural ›› Networking. The physical, social and economic preconditions in a city that Economy of Cities by Allan J. Scott. The book explored culture-related segments allow cultural networking and enable local actors in the field to cooperate. of local economies in Los Angeles and Paris. The focus was not on describing and ›› Organisational capacity. Public and private organisations that have the marketing the creative city, but rather on the fact that culture in a city ‘is one of competence and manpower and the political support to manage cultural and

20 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 21 creative projects and events, and that are flexible and open for new strategies they can earn their living and where they are able to plug into existing networks to promote creativity in a city. of creativity. ›› The recognition that there is a crisis or challenge to be solved. Experience shows that a challenge or even a local crisis helps to nourish creative action. ›› Catalyst events and organisations. Cultural events that attract cultural Can a Creative City be Created? communities, media and visitors to a city, events that require the cooperation and facilitation of public and private institutions. Given the appeal of the creative city concept, it is not surprising that the creative ›› Creative spaces. The existence of creative spaces, such as cultural districts, fever that has spread across the globe has led academic and professional plan- museum quarters or locations that determine the cultural and creative image ners alike to explore to what extent the creative city can be planned or created of a city. (Chapain, et al., 2009). They come to a very cautious conclusion. There is agree- ment that a creative city cannot be planned, that no city as a whole is creative, These criteria for assessing a creative city were formulated 15 years ago – long and that local planning policy can only work to provide good or better conditions before the creative fever spread across European cities, infecting planners and for creative industries to flourish. policy makers. The creative city paradigm has inspired many cities and planners, mobilising them to try to enhance their creative capital and market their real or Urban development policies can facilitate conditions for developing attrac- illusionary location. Experience shows that creative city development requires a tive and communicative public spaces in a city, creative districts in a city for few additional ingredients for successful policies. They are: residents and tourists, and provide attractive locations for new iconic cultural infrastructure. Local economic development agencies can contribute by shifting ›› An established cultural image. The cultural image of a city, its cultural infra- their attention to locally embedded creative industries start-ups and tailoring structure and cultural events are an essential factor in attracting the creative their support instruments to this segment of the local economy, which they have class, as well as media to communicate the image nationally and internation- neglected or belittled for so long. Cultural managers responsible for cultural de- ally. velopment in a city can point to the need for more local, and above all, sustained ›› Established clusters of cultural industries. Creative industries require net- budgets for investment in cultural infrastructure and support for cultural events works and seek clusters for inspiration and benchmarking and for surviving in and activities. In addition, they can point to economic importance of the local competitive markets. cultural capital. ›› Institutions of advanced art and media education. The quality and reputa- tion of art and media institutions in a city is an important dimension in All three local policy areas aimed at moving towards a more creative city are attracting talent and in educating the next generation of creative artists and highly interrelated and require time to mature and show synergies. Obviously, it is ‘culturepreneurs’. unrealistic to believe that visible, longer-term achievements can be accomplished ›› A broad spectrum of innovative high tech milieus. This provides new tech- within one or even two election periods. This is because conditions and decision- nologies and technical competence for creative production and services. making cultures in a city cannot be changed overnight. Time is a crucial factor in ›› Affordable housing and low costs of living. Young creatives require access turning a city into a more responsive creative environment. Creativity is deeply to affordable housing and studios in highly accessible and alluring locations. rooted in the history of a city and in the local society living and working in a city. ›› A spirit of conviviality. For the creative class, a place to be, a place to be identified with, a place to find cosmopolitan community and a place to enjoy Cities in Europe that take the creativity paradigm seriously, or just aim to be the quality of life with others are essential location factors. branded as creative cities, use a bundle of measures to promote culture and creativity and to enhance the creative dimension of urban and economic devel- All this makes a city a magnet for creative people, searching for locations where opment. They commission reports and studies to identify the indigenous creative they can find inspiration for their work, where they can work and find work, where potential of the city. They explore real and potential creativity. They invest in

22 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 23 First, benefiting from the opportune ‘plug-in character’ of the new city development paradigm, they communicate the creative dimensions of the place to the media and different target groups within and outside the city. As a rule, cities start the branding process with commissioning surveys of their creative capital and publish reports on creative and/or cultural indus- tries which quantify, assess and document the importance of these sectors for the local economy. Cities define cultural and creative industries based on national statistics or they assign selected branches to their own defini- tions. With such quantitative information they aim to impress policy makers, investors, developers and the members of local creative communities. In selling the creative dimension of a city, city managers and policy advisors are well aware that praising the creativity of a place does not mean that the city is really a paradise for artists, creative entrepreneurs and cultural consumers.

A second field of action focuses on redirecting local economic development policies to target groups who, in the past, have not profited from the plethora Taipei, Taiwan. A former wine factory in Taipei turned into a multi-functional public space for cultural activities. of well-established instruments and support programmes for local enterpris- es and start-ups. In the last decade of the 20th century, innovation has been the magic formula for attracting investors and financial support to places. In cultural infrastructure and public places and fill the urban stage with designer the beginning of the 21st century, the innovation formula, is being replaced architecture and cultural events. They raise the status of art schools and support more and more by the creativity hype. The fuzziness of the creative paradigm media-related higher education, initiating the formation of creative clusters and helps enormously in this. It justifies almost any form of support for individual networks by offering affordable space for studios and rehearsal space, promoting firms and enterprises operating new technology domains. and developing creative districts, cultural boulevards and other projects to make creativity visible in the city. In doing all this, cities review and qualify their urban Third, urban planners, tired of routine land-use control processes and tied up policies and local economic development strategies, stabilise their expenditures in conflicts over infrastructure development, have welcome the creative fever. in order for cultural activities to meet the growing demand for cultural educa- This is reflected in the recent interest in inner-city development – the euphori- tion and entertainment, sensitise and qualify their administration, seeking to cally proclaimed urban renaissance. Planners have a chance to regenerate increase the awareness of citizens. Aside from maintaining the quality of life and inner-city districts, develop creative districts and focus on public spaces and urban competitiveness, the creative city paradigm encourages cities to implement brownfields in the city. The interest in the visual and design dimension of ur- a better, more holistic, more comprehensive and more strategic form of urban ban landscapes gives also the architecturally trained planners a chance to re- development. For planners it is a challenging balancing act between responding establish their own role in urban policies and to promote iconic architecture. to a fleeting fashion and a more serious approach to urban development and creative governance in times of globalisation. Fourth, the links between creative urban development and gentrification processes, which are highlighted by local media, alarm local politicians and All over Europe and beyond, cities are either adding their well-established crea- socially minded planners. There are mixed feelings, when it comes to the tive image to their urban marketing profiles or seeking ways and means of joining gradual transformation of inner-city districts in less attractive locations by the list of creative cities. What are they doing to sharpen their creative profiles? students, artists and investors searching for new locations. On the one hand,

24 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 25 they praise the increasing attractiveness of these districts for the creative Creative Cities: Vision, Enthusiasm and Reality class. On the other hand, they know that over time gentrification processes will force less privileged citizens, including students and artists to leave the district The creative city is a magnificent vision for the city of the future. It promises an and discover and occupy new locations that provide affordable urban living. urban world dominated by culture, optimism and beauty, inhabited by citizens They know also that in market economies, contesting gentrification processes who enjoy a high quality of life and love their work and their city. Creativity always is almost impossible. Any intervention or control is thus always a political has a positive association, and when promoting the creative city, all negative tight-rope act. dimensions of urban life and post-industrial work in increasingly polarised urban societies fade into the background. It is no wonder that many cities, city manag- Fifth, a consequence of creative city policies has been that cultural planning has ers, urban planners and architects, supported by trend-setting media, airline benefited from growing public interest in the creative branding of a city. Requests journals and journalists searching for easy-to-read stories, praise the creative city for more generous budgets for cultural infrastructure, for art centres, iconic mu- or use it as an easy plug-in concept for their actions and writing. seums and theatres now receive more political and financial support. Similarly, cultural events targeted to visitors from outside the city are considered to be es- In academia also, the creative city paradigm has become a profile-raising and sential features for attracting media coverage, culturally minded consumers and rewarding arena for books and academic papers, lectures, seminars and disserta- mobile creative labour. tions. Workshops and conferences are organised either to praise the concept or to pull it to pieces. The number of books, papers and reports published in many Sixth, universities of applied and performing arts, music academies, design countries and languages on the subject has grown exponentially. Consultancy re- colleges and fashion schools are recognised increasingly as essential cradles ports suggesting how to make a city creative have been welcome documents for for creativity. They are no longer considered to be just luxury enclaves in a fully policy advisors. The creative city fever is additionally nurtured by the self-interest urbanised society, enjoying music and the arts, beauty, décor and design. Increas- of the members of the creative community. They welcome the unexpected public ingly art-related institutions of higher learning are encouraged to open up to the interest in the creative city paradigm as a chance to justify their earnings, main- city and to combine their art ambitions with projects in non-artistic fields. Estab- tain their lifestyles and sell their products and services more effectively. lished universities now introduce more interdisciplinary programmes in cultural studies and management. Enthusiasm for the creative city is based on individual experiences and percep- tions of creative places and actions in a city. Consequently the concepts dif- Seventh, acknowledging that local policies to promote the creative city need fer considerably. If asked to plan for the creative city, the construct will reflect institutional backing, organisational power and thematic coordination of estab- individual desires and motivations, or the outcome of vested interests of quite lished sectoral policies, city governments are establishing special units, agencies different communities, including architects, urbanists and artists. Some even or bureaus to promote creative city policies to drive the local creative economy. claim that the creative city is a welcomed rationale for the community of cultural Such public or semi-public institutions are then entrusted to communicate the managers, who wish to protect and expand their influence or just secure their creative paradigm to local stakeholders and target groups, to coordinate or mod- income erate sector policies and to network among the numerous local segments of the creative economy. Moving from vision and enthusiasm to reality, however, is hard work. This is espe- cially the case, where local physical, economic and cultural conditions do not of- All this is done, with more or less courage and efficiency in cities like Berlin, fer many opportunities to follow advocated guidelines and suggestions. Passion- Hamburg, Leipzig, Cologne or even Dortmund, in Nantes, Bordeaux or Lille, in ate, courageous and committed staff are needed in local governments, along with Vienna, of course, and in Copenhagen and Helsinki, in Amsterdam and Maastricht, leadership and political support that goes beyond elections periods. The creative in Milan and Bologna, in Liverpool and Newcastle upon Tyne, as well as in many city paradigm fits well with the mainstream urban renaissance and knowledge other large and medium-sized cities across Europe. society aspirations of many cities, which have underpinned future-oriented urban

26 27 Bibliography

development policies in the early 21st century. There is much risk (and now also Behr, Vera, Friedrich Gnad and Environment, Vol. 18, No. 2, über das Leben und Arbeiten wirtschaft. Diagnosen und some evidence) that the creative city aspirations are no more than a decorative Klaus R. Kunzmann, Kulturwirt­ 2000. der Kreativen in urbanen Handlungsoptionen,­ Transcript, schaft in der Stadt, Dortmunder Milieus wissen sollten oder Bielefeld, 2009, pp. 33–45. label for papering over city politics and for filling new barrels with old wine. Beiträge zur Raumplanung, Bd. De Bono, Edward, Serious Crea­ schon immer wissen wollten’, 53, Institut für Raumplanung, tivity Using the Power of Lateral disP: The Planning Review, 175, Montgomery, John, The New Dortmund, 1990. Thinking to Create New Ideas, 2008, pp. 57–72. Wealth of Cities. City Dynamics The creative city fever will likely pass. Cities, city managers and planners will HarperCollins, London, 1993. and the Fifth Wave, Ashgate, realise that the creative city paradigm is not a remedy for all urban challenges. Bianchini, Franco, Mark Fisher, Heinze, Thomas, Kultur und Aldershot, 2007. John Montgomery and Ken Du Gay, Paul (ed.), Production of Wirtschaft. Perspektiven It will not solve or address all the challenges of city development in market- Worpole, City Centres, City Culture/Cultures of Production, gemeinsamer Innovation, West- Myerscough, John, Economic oriented economies. Nevertheless, carried out with patience, passion, cooperative Cultures. The Role of the Arts SAGE, London, 1997. deutscher Verlag, Opladen, Importance of the Arts in spirit and commitment, the creative city is a local survival strategy in times of in the Revitalisation of Towns 1995. Merseyside, Policy Studies and Cities, Center for Local Eco- Ebert, Ralf, Klaus R. Kunz- Institute, London, 1988. globalisation and urban competitiveness. This is because the concept stresses nomic Development Strategies, mann and Bastian Lange, Howkins, John, The Creative the importance of culture in market-oriented and consumption-driven societies. Manchester, 1988. Kreativwirtschaftspolitik in Economy: How People Make Ong, Lily and Justin O’Connor Metropolen. Rohn Verlag, Money from Ideas, Penguin, (eds.), Creative Economies, The creative city paradigm will soon be followed by the other Zeitgeist paradigms. Bianchini, Franco, Ralph Ebert, Detmold, 2012. New York, 2001. Creative Cities. Asian-European Emerging paradigms of the resilient city and the smart city, are already waiting Fritz Gnad, Klaus R. Kunzmann Perspectives, Springer, Heidel- and Charles Landry, The Crea­ Ebert, Ralf and Klaus R. Kunzmann, Klaus R., ‘Culture, berg, 2009. to grab the attention of city mayors and their advisors as replacements for the tive City in Britain and Germany, Kunzmann, ‘Kultur, Kreative Creativity and Spatial Planning’ creative city concept. Whereas the resilient city concept will likely not be as suc- The Anglo-German Foundation Räume und Stadtentwicklung (Abercrombie Lecture),Town Perloff, Harvey, S. with Urban cessful in entering the mindsets of citizens and city mayors, the smart city has for the Study of Industrial in Berlin’, disP: The Planning Planning Review, Vol. 75, No. 4, Innovations Group, The Arts in Society, London, 1996. Review, 171, 2007, pp. 64–79. 2004, pp. 383–44. the Economic Life of the City, much more potential as it is being promoted by large global corporations, such American Council for the Arts, as Siemens, BMW, Mercedes Benz, Veolia and General Electric, and cheered on by Carta, Maurizio, L’armatura Evans, Greame, Cultural Plan­ Kunzmann, Klaus R., ‘Die New York, 1979. culturale del territorio. Il ning: An Urban Renaissance, Kreative Stadt: Stadtentwick- a young generation of citizens, for whom use of smart technologies is ubiquitous. patrimonio culturale come Routledge, London, 2001. lung zwischen Euphorie und Scott, Allan J, The Cultural Replacing the creative city paradigm by the smart city concept is not desirable, matrice di identità e strumento Verdrängung?’, Internationale Economy of Cities, SAGE, Lon- di sviluppo, Franco Angeli/ Florida, Richard, The Rise of Bauausstellung (IBA) Hamburg don, 2000. despite all the reservations and criticisms, as it is fundamentally a concept which Urbanistica, Rome, 1996. the Creative Class. And How It (ed.), Kreativität trifft Stadt supports culture as a value in cities and regions. Is Transforming Work, Leisure, – Zum Verhältnis von Kunst, Smith, Neil, The New Urban Carta, Maurizio, Creative City. 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Csikszentmihalyi, Mihaly, Crea­ Code Chinas, Birkäuser, Basel, Lange, Bastian, Die Räume der tivity. Flow and the Psychology 2013. Kreativszenen, Culturepreneurs Vivant, Luisa, Qu’est-ce que la of Discovery and Invention, und ihre Orte in Berlin, ville créative, Collection ‘La ville HarperCollins, London, 1996. Heider, Katharina, Klaus R. Transcript, Bielefeld, 2007. en débat’, Puf, Paris, 2009. Kunzmann and Martina Koll- Deben, Leon, Sako Musterd and Schretzenmayr, ‘Zürich: Stadt Lange, Bastian, Ares Zukin, Sharon, Loft Living: Jan van Wesep (eds.), ‘Culture der Kreativen. Was Stadtpla­ Kalandides, Birgit Stöber and Culture and Capital in Urban and Urban Regeneration: Some nerinnen, Wirtschaftsförderer Inga Wellmann (eds.), Change, Radius/Century Hutch- European Examples’, Built und Quartiersverantwortliche Governance der Kreativ­ inson, London, 1988.

28 I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality 29 Matjaž Uršicˇ The Importance of Culture in Urban Regeneration Practices

Introduction: Culture and Globalisation of Cities

With the increasing importance of globalisation processes, marked by a shift from the era of Fordist to post-Fordist1 flexible capital accumulation, many cities and towns are currently compelled to increase their distinctiveness, uniqueness and attractiveness in relation to other competing cities. Due to the so-called ‘space of flows’ (Castells, 1989) characterised by increasingly faster flows of information, people and products and the improved interconnected- ness of spaces, cities – if they are to maintain their advantages – will have to offer more varied and unique spaces and more socio-cultural services if they intend to improve their position in relation to similar cities.

In these circumstances, where global context plays an important role for the future of the city, ‘culture’ becomes an extremely important factor that sup- ports reorientation from economies of scale to high-value industries and a key element of transition from the modern to the post-modern phase of urban Page 28: Seoul, Korea. Signposts on an development. In other words, cities have become aware that culture (in all old house in Insedong, a cultural tourist possible meanings of the word) has the possibility of providing distinctiveness hot spot in Seoul. in relation to other cities, by localising network flows, constructing represen- tational images, enabling events, promoting the development of interesting

31 public spaces and allowing the formation of unique situational settings. In this as they enable social interaction between a variety of personality types and sense, culture complements other social services (e.g. provision of education, allow ‘heightened mobility of the individual that brings him within the range of child care, homes for the aged, ecological sustainability) that add to the general stimulation by a great number of diverse individuals and subjects him to fluc­ quality of life in the city. tuating status in the differentiated social groups’ (Wirth, 1938, 2000: 98–100).

It is important to mention that culture was, for a long time, a neglected element of spatial planning with important long-term effects on the well-being of a The Changing Role of Urban Regeneration and community. When analysing the role of culture in urban regeneration concepts, Revitalisation in Spatial Planning the majority of past approaches tended to focus mainly on cultural production schemes, where culture, the arts and other creative production were regarded In the primary plan, urban regeneration should not be understood as mere as important supportive elements that added to the functioning of society and physical renovation to restore the attractiveness of the city, but rather as a economy. Bianchini (1999) described such use of culture and creative potential process that motivates and enables the accumulation of heterogeneity, i.e. in urban policies as the ‘age of city marketing’ where culture was ‘increasingly offers a range of opportunities for expressing various individual and collec- seen as a valuable tool to diversify the local economic base and to compensate tive needs and allows the so-called urban experimentation that is impossible for jobs lost in traditional industrial and services sectors’ (see also Hesmond- to notice in closed, standardised and more or less socially uniform suburban halgh, 2002; Howkins, 2001). Characteristic of this perception of culture are areas. The idea of urban regeneration is to a certain extent related to the pro- the definitions formulated by the UK’s Department of Culture, Media and Sport cesses and concepts of restoration,2 (re)urbanisation3 and gentrification. While (2001) to describe the concept of creative industries. In contrast to this perspec- concepts like restoration or refurbishment are oriented towards the physical tive, newer approaches (e.g. UNESCO, 2009; UNESCO, 2010; Agenda 21 for Culture or constructed environment, ideas like urbanisation and reurbanisation are 2004, 2008, etc.) tend to perceive and include culture as a constitutive element focused on the demographic aspect of changing the urban structure. The idea of the basic decision-making process that permeates the whole structure of the of revitalisation is very close to that of regeneration as both view the processes spatial planning mechanism. In the context of urban regeneration, planning for of urban transformation from a more general perspective. Although very simi- culture should be based on the principle of economic and cultural sustainabil- lar, a thin line can be drawn between the two on the basis that regeneration ity, heterogeneity and inclusivity. It should strive to assure a high quality of life puts emphasis on economic aspects and public-private partnerships during for all possible population groups (see Lash, Urry, 1994; Landry, Bianchini, 1995; the urban transformation process, while revitalisation emphasises the social Landry, 2000, etc.). components and reanimation4 of the city to a greater extent. It should be noted that, in some cases, regeneration may also imply the negative processes of the In today’s cities, high quality of life and cultural, ethnic and economic hetero- impoverishment of the city or can represent a form of urban gentrification.5 The geneity should be considered important aspects of urban diversity, affecting listed descriptions suggest that regeneration simultaneously includes elements local production and consumption. Authors like Jacobs (1994) or Featherstone from all listed processes and at the same time cannot be reduced to any one (1991) see economic diversity as the key factor of a city’s success. Similarly of them. It is conceived as a multi-directional approach to spatial analysis that Sassen (1994) studies global cities (e.g. London, Paris, New York and Tokyo) by encompasses an extensive, socially integrative strategy for the entire region of examining their strategic role in the development of global economic activities. the city, and particularly for the city centre with all its precious tangible (physi- Bairoch (1988) and Scott (2000) see cities and their diversity as the engine of cal, built) and intangible (non-material) cultural heritage.6 economic growth. In a familiar context, Florida (2002, 2005) argues that cultur- ally diverse and tolerant cities are more likely to attract creative people, i.e. ‘the According to Kletzander (1995) the processes of regeneration and revitalisation creative class’, and industries such as high technology and research. Culture is include social, economic, architectural and ecological restoration of devalued, in this sense understood as a combination of heterogeneity and diversity of abandoned urban areas. Carmon (1999) described three stages of regeneration population that represents vital elements of a city’s socio-economic structure policies, all related to various approaches and plans for the metamorphosis

32 I. Cultural and Creative Regeneration The Importance of Culture in Urban Regeneration Practices 33 on the offer of cultural goods (most revenue is generated by sale of cultural products) that are also enjoyed or consumed in these same spaces.

A similar concept linked to spaces for cultural consumption was introduced by Bourdieu (1986), who advances the notion of cultural capital.7 Cultural capital is a source of wealth that can function as an alternative to economic (financial and industrial) capital. It can be understood to include education, artistic ar- tefacts or entire cities with their accompanying cultural infrastructure (spatial and urban conception of the city, architecture, museums, etc.). Economic capi- tal can be derived from cultural capital by means of marketing and promotion. This is best exemplified by some cities with rich cultural and historical herit- age, such as Florence, Rome or Venice, where cultural capital is already in use for centuries. Historical spaces of culture, i.e. the objectified cultural capital in these cities, are a part of the cultural consumption process and have long been a vital segment of the municipal economy and lucrative source of revenue.8 Tainan, Taiwan. A shop house in an old district of Tainan waiting for a second chance. Due to the strong role of the historical city centre in creating cultural identity and representing the trademark or brand of a city, planners and policy advi- or transformation of the cultural identity of areas in the city. All three stages sors in several European cities have attempted to combine contemporary can be identified in the US, UK and several other European countries, although consumption and revitalisation of city centres. Some advanced an economic not always precisely in the same form or at the same time. The first stage developmet approach to the problem by combining regeneration, revitalisa- (1930–1950) was characterised by physical determinism, focused on the built tion and consumption in the city centre with drastic spatial interventions to environment and was less attentive to social/demographic aspects of regenera- preserve the cultural composition of the city and minimise the processes of tion. These were stressed to a greater extent in the second stage (1960–1970), gentrification.9 Unfortunately, in many cases, during these attempts to reno- which emphasised the importance of revitalisation of neighbourhoods and the vate the city, it is not completely clear which renovation strategy is to be used analysis of social problems in the city. The third stage (1970–1980) was charac- and what consequences it will have on the neighbourhood, its social structure terised by the entry of economic players and public-private partnerships into and local community. In this sense, it is possible to speculate that there will be the revitalisation processes of central city areas. In this stage, special attention collateral damage in this process, represented by a certain degree of diminish- was devoted to spaces for consumption. Cultural consumption has played a ment of the cultural heterogeneity of the location. Moreover, in some cases, central role in the urban regeneration and revitalisation processes from the the unique local characteristics of cultural capital and heritage and its com- 1970s onward. munities are used by urban managers for gentrification purposes. Distinctive features which give character to the neighbourhood and are embedded in the Urban spaces of cultural consumption differ from ordinary spaces of consump- everyday life of local communities (offers of services, practices and structure tion primarily in regard to the products they offer. In a retail outlet, e.g. a shop- of the population) are sometimes used as part of an ‘interim development’ ping centre, a consumer exchanges his money for physical goods and derives strategy i.e. warmly welcomed temporary guests or ‘bridging gentrifications’ some enjoyment from the transaction. In spaces of cultural consumption, on (Smith, 1996: 105) that due to their character and cultural capital incidentally the other hand, money is normally exchanged for non-material products, which cultivate the area and make it ‘cool’ and attractive, but which, due to their also bring personal satisfaction. Spaces for cultural consumption should be low-income status, are not protected when the value of the real estate begins distinguished from spaces for (general) consumption, because they focus more to rise.10

34 I. Cultural and Creative Regeneration The Importance of Culture in Urban Regeneration Practices 35 During those processes, classical urbanity,11 whose impetus has been lost, is replaced by a new post-modern urbanity characterised by the re-installation of consumption activities and global actors (economic entities, tourist facilities) in the city. Cities attempt to attract different groups of people by utilising the role of consumption in the processes of urban regeneration and revitalisation. During the course of this type of re-development, a certain degree of stand- ardisation, i.e. diminishment of diversity in inner-city consumption spaces, can be witnessed, and the same retail shops found in any high street will have replaced many specific local establishments that helped contribute to the vibrancy and interest of particular locales, but were not perceived as profitable by interest groups. This heightens our awareness of a process of urban cultural regeneration that is mainly concerned with economic renovation and financial revitalisation, a process that tries to attract affluent newcomers, consumers, tourists and other high-income groups but at the same time diminishes the level of heterogeneity in the city. By displacing lower-income groups, the crea- tive milieus, informal spaces and unique urban settings that represent the basis for cohabitation of diverse cultures in the city are destroyed. In this sense, the institutionalisation or sanitisation of local cultural or subcultural spaces helps the inner city to raise the level of consumption and to recoup some vibrancy, but it has not really succeeded in integrating important parts of urban culture, which tend to be pushed out of the central areas of the city.

Conclusion: Ensuring Social Inclusivity in Urban Regeneration Practices

We may conclude that each specific case of urban regeneration gives rise to a variety of questions that are related not only to physical-spatial interventions but to more important socio-cultural factors in spatial planning. The danger of pseudo-planning or small-step incrementalist planning derives from its restrictive stance which focuses on physical transformations without looking for links to cultural systems, local community and wider society. In the con- text of more sustainable urban planning, urban regeneration processes must inevitably include various dimensions of cultural planning that should be based on the principles of inclusivity and strive to give voice to all possible popula- Page 36: Tainan, Taiwan. A ‘slow’ sign in tion groups. Bianchini describes cultural planning strategies oriented toward front of semi-demolished house in Tainan urban sustainability as a tool that helps to synthesise – to see the connections between natural, social, cultural, political and economic environments. Conse- quently, the final product of such urban cultural sustainability policies should

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UNESCO, UNESCO’s Decade of 2 Restoration processes majority of cases described as a chines, buildings, etc.); 3) insti- define the function of the area. policies: analysis and policy ment’, Geography and the Education for Sustainable De­ are spatially and socially process of social-spatial trans- tutionalised state (education, Subcultures are used by ‘urban implications’, Geoforum 30, Urban Environment, David Lash, Scott and John Urry, velopment (2005–2014), Paris: bounded, i.e. oriented towards formation of degraded areas qualifications). managers’ (Pahl, 1977) as part of Elsevier, Pergamon, London, Herbert and Ronald Johnson Economies of Sign and Space, Division for the Promotion of redevelopment of deprived where processes of intensive the strategy of ‘interim develop- 1999, pp. 145–158. (eds.), Wiley, Chichester, 1984, SAGE, London, 1994. Quality Education, UNESCO, neighbourhoods for middle and restoration and renovation of 8 For example, the cities that ment’, i.e. warmly welcomed pp. 283–330. 2010. upper classes, while the socially neighbourhoods have brought were part of the standard itiner- temporary guests (non-statuary Castells, Manuel, The Infor­ Lever, William, ‘Reurbanisation deprived groups simply move about the increased departure ary of ‘the grand tour’, i.e. includ- tenants). mational City: Information Harvey, David, The Condition of – The Policy Implications’, United Cities and Local Govern- to another area of the city (see or displacement of lower social ed in the traditional trip through Technology, Economic Restruc­ Postmodernity – An Enquiry into Urban Studies, Vol. 30, No. 2, ments (UCLG), Agenda 21 for Lever, 1993). groups of the population (work- Europe undertaken by young, 11 The often-used term ‘city turing, and the Urban Regional the Origins of Cultural Change, 1993, SAGE Publications, culture. Barcelona: Committee ing class) and an influx of middle upper-class men and women in life’ does not indicate only Process, Blackwell, Oxford, UK; Blackwell, Oxford, 1989. London; Thousand Oaks, on culture – United Cities and 3 According to Haase and and upper classes of the popula- the period from 1660 to 1840 someone’s residential location Cambridge, MA, 1989. pp. 267–284. Local Governments, 2004, Steinführer (2003), reurbanisa- tion taking their place, as they (see Thompson, 1991). in a densely populated urban Hesmondhalgh, David, 2008. tion represents a process of are able to afford the increasing environment and connection to Downs, Anthony, Neighbor­ The Cultural Industries, SAGE, Pahl, Ray, ‘Managers, technical ‘creating high-quality apart- cost of living in these areas 9 For example, Featherstone a specific form of employment. hoods and Urban Develop­ London, 2002. experts and the state’, Captive Uršic ˇ, Matjaž, Urbani prostori ments and living conditions in (see Smith, 1996; Hamnett, 1984; (1991, 1998: 189–206) describes More importantly, it presupposes ment, Brookings Institution, Cities: Studies in the Political potrošnje [Urban Spaces of the city by employing new forms Downs, 1981). the processes of ‘deindustriali- a specific lifestyle, the so-called Washington, D.C., 1981. Howkins, John, The Creative Economy of Cities and Regions, Consumption], Fakulteta za of enrichment of the urban life’ sation of city centres and port ‘urbanity’ or ‘urbanism as a way Economy: How People Make Michael Harloe (ed.), Wiley, družbene vede, Ljubljana, (sic). They emphasise the role of 6 While tangible (material) docks that are gentrified by the of life’, presented as an active Featherstone, Mike, ‘Mestne Money From Ideas, Penguin, London; New York, 1977, 2003. various age groups, household heritage is made up of individual middle-class population, and engagement in city activities, types, migration patterns and buildings, groups of buildings, developed into spaces of tourism spontaneous street vitality and kulture in postmoderni Allen Lane, 2001. pp. 49–60. ˇ lifestyles, including the cultural areas, objects and collections of and cultural consumption’. described by Wirth (1938) as življenjski stili’, Casopis za Wirth, Louis, ‘Urbanism as a and identity-related upgrade of objects, intangible (non-mate- the widening of social and be- kritiko znanosti, Vol. 26, IPCH – Institute for the Protec- Sassen, Saskia, Cities in a World Way of Life’, The City Reader, particular areas of the city. rial) heritage comprises knowl- 10 Local cultures or subcul- havioural characteristics of the No. 189, 1991; 1998, tion of Cultural Heritage of Economy, Pine Forge Press, Second Edition. Richard Le edge, skills, customs, beliefs and tures are one of the decisive urban life of an individual. Študentska založba, Ljubljana, Slovenia, ‘What is cultural Thousand Oaks, 1994. Gates and Frederic Stout (eds.), 4 Reanimation in the sense values as recognised and realised factors in the first phase of pp. 189–206. heritage?’, accessed: 12.5.2011, Routledge, New York; London, of revitalisation of the central by people and connected with gentrification of deteriorated http://www.zvkds.si/en/ 1938, 2000, pp. 97–105. city involves the establishment creation, use, understanding and abandoned areas. In the next varstvo-kulturne-dediscine/o-

38 I. Cultural and Creative Regeneration The Importance of Culture in Urban Regeneration Practices 39 II. Project Second Chance

40 41 HALLE 14 | Leipzig production hall at former Leipzig Cotton Spinning Mill › HALLE 14 - non-profit art centre Project Structure Project partners: Aufbauwerk Region Leipzig GmbH, HALLE 14 e. V.

Depot | Krakow former tram depot › Museum of Municipal Engineering and cultural centre

Project partners: City of Krakow, Museum of Municipal Engineering Auf AEG | Nuremberg buildings 3 and 14 at former AEG factory › Kulturwerkstatt cultural centre

Project partners: City of Nuremberg, MIB – Fünfte Investitionsgesellschaft mbH

Rog | Ljubljana former Rog factory area › RogLab – Rog Centre pilot project Arsenale | Venice Torre di Porta Nuova at Venice Arsenale Project partners: second › research and exhibition centre City of Ljubljana, chance Museum and Galleries of Ljubljana From Industrial Use to Creative Impulse Project partners: City of Venice, Arsenale di Venezia Spa www.secondchanceproject.eu

42 43 Introduction strengths, weaknesses, opportunities and threats The development of public-private partnerships for revitalisation. The relevance of the analysis (PPP) to ensure sustainable financing and manage- for the formulation and application of regenera- ment of the sites was also a key element of SEC- tion concepts varied substantially. Some partners OND CHANCE. A variety of partnership models were faced basic difficulties in gathering usable data. tested through the pilot projects. The first step Others found the results generated to be too gen- was to develop a transnational PPP concept based In the SECOND CHANCE project, ten partners of the surrounding urban districts by transforming eral and less useful than anticipated. For other on an analysis of different public-private partner- joined together to foster the regeneration of five old industrial sites into lively cultural centres. partners, the SWOT analysis was a helpful first ship business models possible in arts and culture brownfield sites in major Central European cities step in enabling the development of their sites. in different national settings. The development of by integrating and promoting cultural activi- The four year transnational cooperation process site-specific PPP concepts marked the second step. ties. The project gave the former AEG factory in focused on developing and implementing concepts Stakeholder workshops with various target The implementation of PPP models was a major Nuremberg (DE), HALLE 14 of the former Cotton for long-term use and financial sustainability of groups followed. Ideas and issues central to goal of SECOND CHANCE. Spinning Mill in Leipzig (DE), the former Rog factory the participating sites by applying common meth- revitalisation activities were discussed with lo- in Ljubljana (SI), the Porta Nuova tower on the site ods and tools for guiding revitalisation. The project cal authorities, potential partners, citizens and Comprehensive marketing strategies and tools of the Arsenale in Venice (IT) and the former tram was structured to create a framework in which the neighbourhood representatives, as well as with were developed to attract partners and spon- depot in the St. Lawrence district in Krakow (PL) five development processes could be compared. individuals and institutions from the field of art sors for the PPP arrangements. Other major goals a ‘second chance’. This was necessary as the five sites were at very and culture – to name just a few. These work- focused on preparation of detailed management different stages in their development – some shops involved the public in order to learn about plans for all sites and on facilitating a lively and SECOND CHANCE was implemented through the sites were already undergoing revitalisation at public expectations and possible objections. mutually beneficial cultural exchange between the CENTRAL EUROPE Programme, co-financed by the beginning of the project whereas others were Results were documented and used as a crucial cultural centres. Thus, SECOND CHANCE project the European Regional Development Fund (ERDF). preparing for the next step in their redevelop- input for formulating a development vision, partners were able to develop transferable solu- CENTRAL EUROPE is a European Union programme ment based on previous experience with cultural which was another key method and task for all tions and financing instruments for bringing about that encourages transnational cooperation with activities. Differing legal and administrative situ- project partners. new uses of their urban brownfield sites. the aim of improving innovation, accessibility and ations in the countries involved made it difficult the environment and enhancing the competitive- for some partners to undertake project. In some In each case, a development vision provided a SECOND CHANCE provided for a pilot project in ness and attractiveness of the cities and regions in of the participating countries, there is a history of general overview of what owners and operators each of the former industrial sites in participating Central European countries. regenerating brownfield sites, whereas in others expected to gain from revitalising their former cities. Each involved identifying a pilot investment the work undertaken through SECOND CHANCE industrial sites. Hopes, ideas and initial solutions to test how new cultural activities could translate In SECOND CHANCE, different approaches to the re- proved pioneering. were identified, along with potential obstacles into re-use of the industrial site and buildings. vitalisation of former industrial complexes through and problems. To translate the vision into reality, Realisation of the pilot investments was based on arts and culture were discussed and implemented. The starting point of the project work was a a development concept was commissioned for implementing the development concepts pre- Public authorities, as well as operators and owners Europe-wide analysis of positive examples (‘best each of the former industrial sites involved in pared, input from local stakeholders and know- of the sites were involved in conversations about practices’). This helped the project partners the project. The work on this concept was a how gained thanks to the design of site-specific how to jointly develop concepts and strategies for identify new ways of bringing back into use former crucial step for all partners, since it defined the PPP models. In each case, the pilot investment revitalisation. Besides the reuse of these histori- industrial sites, learn from similar situations and whole revitalisation process and described in sought to pave the way for revitalisation based cally important buildings, a common objective was identify transferable solutions. A SWOT analysis detail the pilot investment implemented as a on cultural and creative activities. This part of the to increase the attractiveness and competitiveness was conducted for each city and site to identify part of the project. project is described later in the brochure .

44 45 Pages 40/41: Women working on the production of AEG refrigerators in Nuremberg Page 46: Dismantled factory logo at the former AEG site, eponym for the area ‘Auf AEG’ Nuremberg the household appliances sector and so also The north end of the AEG complex includes a the factory in Nuremberg. Less than ten years 1930s residential development, which could later, the company announced closure of the potentially extend over 70,000 m². In this part long-established AEG factory in Nuremberg and of the complex, many spaces are rented out as shifted production to other European countries. artists’ studios. As many as 78 artists – painters, The last AEG washing machine was produced in photographers, installation artists and sculptors – the Nuremberg factory in March 2007. The factory currently work here. The single-storey production was closed shortly thereafter. The closure resulted halls are rented to small production and service in a 16 ha brownfield site near the city centre companies. The northern area is dominated by the close to another 5 ha industrial brownfield on former logistics hall of AEG. Over half of the avail- Further Strasse, which was the former Triumph- able space in the entire complex has been brought Adler grounds. The 2009 bankruptcy of Quelle back into use. Altogether roughly 80,000 m² are added a further industrial estate of almost 11 now rented and there is an aspiration to extend ha in Eberhardshof. The closure of these indus- the art and culture functions of the area. trial sites created a huge problem for the City of Nuremberg, as each one translated into serious The City of Nuremberg recently bought building unemployment in the area. No. 3 from the MIB Fünfte Investitionsgesells- chaft mbH with plans to redevelop 4,400 m² into The AEG-Electrolux property was bought in June the Kulturwerkstatt, a multifunctional cultural 2007 by MIB Fünfte Investitionsgesellschaft centre, which is to be located in the ‘Quartier Vier’. mbH, an investment company. The company is The Kulturwerkstatt will house the Akademie für a subsidiary of MIB AG and was charged with the Schultheater und Theaterpädagogik (an academy Culture-led Revitalisation for the Benefit task of redeveloping the former AEG complex in promoting theatre in schools and theatre pedago- Nuremberg. gy), the long awaited headquarters of the Musik- of the City and the Region as a Whole schule Nürnberg (music school), the KinderKun- The site comprises a total of 168,000 m² and stRaum (a children’s art organisation which may is located in the western part of Nuremberg. develop into an art school for kids and teenagers), It is well-connected to the city transportation the Centro Español (the oldest migrant association History and Current Situation systems. The southern part of the AEG complex in Nuremberg) and the Kulturbüro Muggenhof (city is a homogeneous ensemble of buildings, which cultural office for the district). The Centre is to col- The Nuremberg AEG factory was founded in made up the industrial production facility. Partial laborate closely with Zentrifuge, which provides for 1922 and produced household appliances such demolition has opened up the area with court- culture education. The Kulturwerkstatt guarantees as washing machines and refrigerators. By 1970 yards and parking areas. As part of the revitali- that culture will be a key part of the future of the AEG-Telefunken was the twelfth largest electron- sation process, the headquarters of Germany- AEG site and will serve to build an identity for the ics company in the world, with factories in many Electrolux AG and Siemens PTD, as well as other district as a whole, which will impact the whole countries. In 1994, the Electrolux group took over companies, relocated to the site. city.

46 47 Werkstatt 141 Fassade Werkstatt 141 during the construction work

Implementing the Concept The pilot investment in the Auf AEG site is called tions and pedagogy, but also for other activities, surrounding the AEG site and also to the citizens of Werkstatt 141. The project has been conceived as including meetings and concerts. Nuremberg. Looking at the former AEG complex itself, its a Public Private Partnership (PPP) involving MIB, main strength is its central location. The area can the owner of the site and the City of Nuremberg. The newly developed open space provides a basis The Werkstatt 141 opened on September 13th be reached easily by public and private transport Under the terms of the agreement, MIB remains for organising cultural exchanges of theatre groups 2012 and has hosted over 100 events so far, with from both Nuremburg and Fürth and there is the owner of the 274 m² hall located in the ground and networking in the field of theatre pedagogy in more than 5,000 local and international visitors. space for many possible uses, including tempo- floor of Building No. 14. This is where the pilot order to develop new work methods and engage In a short time, the Werkstatt 141 has become a rary artists’ studios or exhibitions. Zentrifuge has action takes place with the City of Nuremberg se- with new target groups. The space is managed key contributor to building social cohesion of the itself proven to be an innovative space for the curing rights to use the space for cultural purposes. by the City Culture Department as a collabora- neighbourhood. The City has gained a capability creative industries, allowing them to explore new As part of the pilot investment, the MIB renovated tive venture with the city Musikschule Nürnberg to engage in international cooperation related to ways of working and acting as a contact point the hall and made it available to the City Culture (music school), the Akademie für Schultheater organising exchanges in the fields of theatre, thea- for many different groups and interests. Space Department, which now organises the (cultural) und Theaterpädagogik (academy promoting the tre pedagogy, sound and visual arts and cultural is made available for exhibitions, discussions content for programming. use of theatre in schools and theatre pedagogy), education. and events. Opportunity lies in maintaining and the City department responsible for art education fostering this interactive quality. In this context, As part of the pilot project, the 274 m² hall has of children ‘KinderKunstRaum,’ the oldest migrant The pilot project, which involved renovation of the a combination of public and private funding been completely renovated and equipped with a association in Nuremberg ‘Centro Español’ and the hall into an open space tailored to the needs of guarantees that space is provided for experimen- new electrical installation, stage and seating, stage non-profit association Zentrifuge, which is located transnational meetings of artists and performers tation and not just for the purpose of generating lightning, a sound system and air conditioning, on the site. As a result, a multifaceted programme is a special undertaking. The project is unusual in revenues. tailored specifically to the needs of theatre produc- of cultural and social courses, workshops, projects that it seeks to create a cultural space, accessible and services is on offer to residents of the district to artists from all over Europe, which is also avail-

48 II. Project Second Chance Nuremberg | Culture-led Revitalisation for the Benefit of the City and the Region as a Whole 49 ‘Culture is essential!’ Paper theater at the opening of the Werkstatt 141 In the Werkstatt 141 theater groups from primary and secondary schools of the neighborhood find the perfect conditions for their projects (Performance of the Dürer Secondary School)

able to local residents interested in watching, dis- presented their work within the framework of the There is also the prospect of cooperation between of the Auf AEG site buildings with plans to renovate covering and enjoying the creative process. This Offen Auf AEG event organised in September 2012 the City and companies operating from the site the 4,400 m² of useable space to develop it into approach of driving the revitalisation of unused on the AEG site. with respect to providing logistic services for the the Kulturwerkstatt, a multifunctional cultural spaces through participation is to be a model for future Kulturwerkstatt. Such opportunities will centre where all five institutions working together others. The project brings a transnational added The pilot investment provided also an important be explored through the SECOND CHANCE pilot in the pilot project will be located enabling their value in the sense of spreading and exchanging means for working out a formula for cooperation investment. Agreements for catering, public rela- collaboration to continue into the future. The total new ideas on how to shape a creative space and between the City Culture Department and MIB. tions, technical infrastructure, sponsorships, etc. investment in the Auf AEG site is estimated to be how to ensure the further social and economic The collaboration will continue in coming years could take the form of property management and approx. 15,89 million Euros. As a cultural facility, development takes place in ways that benefit on the AEG site as the City has purchased Hall No general management PPPs. it has all the makings of becoming a true ‘flagship what remains today a disadvantaged area. 3 for the purpose of building a cultural centre urban renewal project.’ The new centre for culture – the Kulturwerkstatt. This initiative will enable and arts education will not only help build the As a direct result of the pilot, the City Culture a collaboration with the Zentrifuge Association Ideas for Future identity of the district, but will also increase the Department operates an international exchange and so will be a key part of future programming role and significance of the district in the city as a programme with SECOND CHANCE partners, for Werkstatt 141. The City intends to collaborate Based on the lessons learned during the project, whole. which includes exchanges of artists. In April 2013 with Zentrifuge to explore new activities for the the City of Nuremberg and MIB have defined jointly Sabina Tutone, a professor at the University Ca’ project space available in Building No. 14, focus- plans aimed at revitalising the whole area. The The Werkstatt 141 will be retained and used for Foscari in Venice led a theatre workshop with ing on cultural and creative industries. During this City Department for Urban Development and the art and culture for many years to come. It will help students selected by the Academy of Theatre process both organisations will collaborate with Culture Department are very much involved in to continue to focus on joint work of the SECOND Pedagogy in the Werkstatt 141. In addition, four artists, researchers and entrepreneurs operating this process. As a result of joint work undertaken CHANCE partners and to develop collaboration with artists from Venice, Ljubljana, Krakow and Leipzig on the AEG site. through SECOND CHANCE, the City purchased one other institutions in the City, region and across Eu-

50 II. Project Second Chance Nuremberg | Culture-led Revitalisation for the Benefit of the City and the Region as a Whole 51 municipality participate regularly in the Werkstatt events organised in collaboration which started 141 workshops on urban design, urban develop- with the pilot project, served to expand the scope ment and participatory approaches covering whole of operation of both institutions. west area of Nuremberg. At the local level, the Cultural Office Muggenhof has been actively col- From the very beginning, the pilot action focused laborating with actors and institutions in located on Wekstatt 141 as a space for experimental pro- in the district, helping, for example, to organise a jects of local artists. It is well equipped technically local festival each year or to establish an associa- and offers advice, training and practical support tion devoted to researching local history. The pilot with the organisation, promotion and delivery of project has played important role as a focal point cultural activities. What is more, the space is also for networking activities. now well established as an important venue for school theatre groups in the district, providing an Cooperation on the Auf AEG site between the opportunity to improve the quality of the school association Zentrifuge, which focuses on visual theatre in the area. Various theatre groups from arts and creative industries, and the Cultural Of- all over the country and abroad regularly perform Wekstatt 141 offers a space for experimental art forms and international encounters (Glitchartfestival) fice Muggenhof, with its emphasis on social and at the Werkstatt 141 for kindergartens and local cultural activities has also proven fruitful. Numer- school children, thereby contributing to their cul- ous workshops, art exhibitions, lectures and music tural and art education.

rope. The pilot investment has clearly contributed Muggenhof (City Cultural Office for the district). to increasing the attractiveness of the entire Auf The two external partners are the Akademie für AEG factory area for further investment, thereby Schultheater und Theaterpädagogik (Academy for assuring its own economic sustainability. The Theatre in Schools and Theatre Pedagogy) and the cultural and pedagogical offer that is now made Centro Español (a migrant association). This new available to local residents has also improved the cultural centre will be coordinated by a commit- quality of life in the area. The know-how related to tee composed of directors of the music school, urban revitalisation through arts and culture gath- the KinderKunstRaum, the City Cultural Office ered during the project implementation can now Kulturbüro Muggenhof and the building manage- be passed on to other municipalities or owners ment. This committee will jointly decide on the and operators of urban brownfield sites interested programme offer and will also be responsible for to learn about the challenges of the revitalisation public relations. process. The relationships developed between various The future Kulturwerkstatt Auf AEG will comprise partners involved in the pilot investment form five organisations, of which three are municipal the basis for future operations. The prospective organisations, the Musikschule Nürnberg (mu- users of the future cultural centre Kulturwerkstatt sic school), the KinderKunstRaum (a children’s take part in workshops and events organised in art organisation which may develop into an art the space created within the pilot investment. www.aufaeg.de school for kids and teenagers) and the Kulturbüro Actors and representatives of the district and the www.kuf-kultur.de

52 II. Project Second Chance Nuremberg | Culture-led Revitalisation for the Benefit of the City and the Region as a Whole 53 Page 54: Five storeys with 4.000 m² each: the art centre HALLE 14, 2011

Leipzig approximately 10 ha of land. The site is situated bicycle workshop, the art space B/2 and others. in Neu-Lindenau, in the southwest of Leipzig, very This unique milieu convinced the new owners close to the districts of Plagwitz and Lindenau, that buying the site had been the right decision, neighbourhoods that were once home to the fac- and it defined their vision and strategy for further tory workers. development: keep what’s already there and use this to develop the Spinnerei into a special place The Spinnerei, as it is called today, was built for art, culture and creativity. Today, there are over between 1884 and 1907 after its founding by a 100 artist studios at the Spinnerei, 10 galleries, joint-stock company determined to compete in numerous workshops and the offices of printers, the European cotton market. Within a few years, it architects, urban planners, fashion and graphic grew to be the largest spinning mill in continental designers, etc., as well as several non-profit initia- Europe and eventually employed up to 4,000 work- tives and institutions. Today, the neighbourhoods ers. Cotton spinning continued until 1993, when between the Leipzig city centre and the Spinnerei several production buildings were shut down and have become lively places with many creative and most employees were let go. The last production cultural initiatives and a new influx of residents. line – cord for car tires – finally ceased operation in 2000. Turning the largest production building, hall number 14, into a centre for contemporary art Beginning in 1993, during the step-by-step process was one of the first initiatives in the non-profit of closing production halls and buildings and sell- sector at the Spinnerei. The Federkiel Foundation, ing off the machinery, the Spinnerei administration a private foundation for contemporary arts and opened up the empty halls and rooms to alterna- culture founded by art enthusiast Karsten Schmitz Between the Luxury of Emptiness and the tive users. A summer academy was opened, the – also a Spinnerei shareholder – dared to take this first artists set up studios, and architecture firms, enormous step. Burden of 20,000 m² of Non-Profit Space: workshops and exhibition spaces gradually moved in. This marked the beginning of the internationally However, the Federkiel Foundation did not take The Art Centre HALLE 14 recognised art cosmos that the Spinnerei is today, this step alone. International architects, urban and it laid the groundwork for the idea of turning planners, artists, sociologists, curators and other HALLE 14 into a non-profit art centre. intellectuals were invited to be part of this process History and Current Situation through the symposium ‘How Architecture Can The present owner of the Spinnerei, a shareholder Think Socially’, held in Leipzig in December 2002. Founded in 2002, the art centre HALLE 14 is company called Leipziger Baumwollspinnerei Possibilities for arts and culture in former indus- housed in a huge, five-storey, 20,000 m² pro- Verwaltungsgesellschaft mbH, bought the en- trial buildings in general and at the Spinnerei in duction building on the grounds of the Leipzig tire site in July 2001. At that time, 6,000 m² out particular were discussed, building on the visions Baumwollspinnerei (Cotton Spinning Mill). This of 90,000 m² of usable space was being used of the new owners and users of the space. Best former industrial site consists of 20 buildings on by about 30 artists, craftspeople, engineers, a practices as well as failures from Germany and

54 55 Artist Doo Hyoun Kwon painting in his studio Artist Laura Eckert working in one of 11 studios that were build within SECOND CHANCE

other countries were presented and evaluated. Until 2006, the enormous production building Hauke Herberg from the Leipzig architecture firm ed artistic regions (e.g., Pause the Pulse: Portrait of The role of art institutions in such buildings and with its thousands of square meters of empty quartier vier. Accra, 2010). The exhibition themes are selected by similar surroundings as well as their opportuni- space, its ‘luxury of emptiness‘, was used in its curator Frank Motz, who has been working with the ties and challenges were debated. The symosium original state – rough, cold and humid. For the The restoration work continued intermittently, and art centre since the very beginning in 2002. is documented in ‘How Architecture Can Think exhibitions of the Federkiel Foundation from while the building changed gradually, the cultural Socially’ (Nuremberg, 2004). 2003 to 2006, curator Frank Motz and a small work of HALLE 14 continued to grow and develop. The art education programme ‘Kreative Spinner’ group of freelancers and interns worked with As an independent art centre, HALLE 14 is a place provides access to art for children and young The results of the symposium served as the the existing character, size and condition of for the presentation of contemporary art as well as adults at this unique space for contemporary arts basis for a ten-year plan set up by the Federkiel the spaces. They organised five large, widely a space for reflection and communication. It serves and culture, the Spinnerei. Participants experience Foundation in 2002. Most of these results are recognised exhibitions of international con- the public interest in its artistic commitment. This art firsthand at its production and presentation still relevant and helpful today; however, the last temporary art and demonstrated their profes- goal is accomplished through various programmes site. In workshops and through hands-on projects, nine years of practical work in HALLE 14 have sional approach. It was not until 2007 that the and HALLE 14’s partner concept. they learn about selected exhibitions and the work shown that the revitalisation of an industrial first architectural vision was implemented. The of artists, as well as their working processes and building through arts and culture needs much visitor centre was the first area to be developed, HALLE 14’s core work is the series of international techniques. more than good ideas and grand visions. The op- and it marked the beginning of the process- group exhibitions of contemporary art in the portunity to participate in the SECOND CHANCE oriented, step-by-step work on the building. The 2,400 m2 exhibition space on the ground floor. HALLE 14’s art library offers an up-to-date over- project, which enables transnational exchange restoration of the 4,000 m² roof, the renovation Since 2003, one to three exhibitions per year have view of international contemporary art literature. and cooperation with European partners with of the façade and the construction of various taken place, presenting societal perspectives (e.g., Its current inventory of 30,000 books serves as a similar developments and experiences and with project and exhibition spaces were the main The Culture of Fear, 2006), challenging exhibition reference library for discovery and research for visi- comparable questions and problems, was a logi- building activities between 2008 and 2011. All traditions and viewing habits (e.g., Failed Art – The tors, art experts, students and artists. The library is cal, reasonable and valuable next step. works were realised by Kim Wortelkamp and Art of Failure, 2009) or focusing on underrepresent- also an additional platform for artistic work.

56 II. Project Second Chance Leipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space 57 Halle 14 The beginning of the construction works

Starting in 2010 with the Lounge14 series of talks the programme was planned and discussed, but and cultural professionals with innovative ideas). the Federkiel Foundation, which funded most of and discussions, HALLE 14 regularly embarks on there were no studios or individual work spaces in Acquiring long-term exhibition and studio partners the activities from 2002 to 2010. discursive excursions into contemporary questions the building. The pilot investment of the SECOND is the primary goal. in art and society. Artists, curators and academ- CHANCE project made the establishment of Stu- In contrast to most of the other sites in the ics are invited to reflect on cultural topics and dio14 possible. SECOND CHANCE project, HALLE 14 already has a aesthetic issues. Furthermore, an accompanying Developing the Concept history of revitalisation through arts and culture. public programme of lectures by experts and pre­ Despite the great variety of activities and public The challenge is different yet similar: HALLE 14 sentations by artists enriches the exhibitions. events organised by HALLE 14, it was understood The SWOT analysis for HALLE 14 showed that the needs to learn to stand on its own feet. A sustain- from the very beginning of the development that art centre has accomplished much in terms of able financial and management structure, the HALLE 14 has been publishing its own newspaper, all 20,000 m² could not be used by one associa- creating high-quality cultural activities, securing completion of the studios, the formation of studio vierzehn (fourteen), since 2002. Detailed informa- tion. The enormous size of the building can also funding, implementing renovation efforts and gar- partnerships and residency programmes as well as tion about projects, exhibitions, artists and current be seen as burden; however, all involved tend to nering public attention. The analysis also showed the cooperation with new exhibition partners on developments is presented in text and images. value the space’s potential and luxurious empti- that HALLE 14 lacks a clear and strong public the basis of a clear concept are crucial objectives Since 2009 (issue 6), vierzehn has been modelled ness. Nevertheless, HALLE 14 has found it neces- image: some programmes are better known than to reach to ensure the art centre’s future. on the format of the former Spinnerei company sary and useful to cooperate and share spaces others, and the overall concept of the institution is newspaper, Der Weiße Faden (The White Thread). with other institutions and projects. This fits well not easily understood by outside observers. Refin- Due to this situation of starting the development in with HALLE 14’s mission to promote indepen­dent ing the profile and improving its communication to the middle of an ongoing journey, the stakeholder Alongside the exhibitions, art education, library artistic and intellectual exchange. Since 2006, the public was recommended, as well as broaden- workshop held by HALLE 14 on May 3, 2011 was and Lounge14 series, the international fellowship project and exhibition spaces have been provided ing the institution’s network. In terms of the SWOT called ‘The Future of HALLE 14’ and invited those programme Studio14 is the fifth core project of to partners from the non-profit art world (associa- analysis, one of HALLE 14’s biggest threats is its people most involved in the past and future of HALLE 14. For more than five years, the setup of tions, foundations and academies, as well as artists dependency on individual private supporters like the space. Accompanied by an external expert,

58 II. Project Second Chance Leipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space 59 Halle14 View of the exhibition area The studio of media artist group famed

the owners of the Spinnerei, the chairman of the potential and demand. While not to be neglected, HALLE 14 for renovating the roof and façade Thus, in 2011 – parallel to the pilot investment Federkiel Foundation, a member of the HALLE 14 the exhibition and activity programmes call for (first and second phases of the renovation, to- as part of SECOND CHANCE – the third phase of team and its managing director met for an only minor structural, organisational and finan- tal investment: 1.1 million Euros, public fund- renovation was made possible by a 65 % funding intense discussion. The financial situation of the cial improvement. The crucial aspects for the art ing: 920,000 Euros) demonstrated recognition from city, state and federal governments (total institution, funding for the next restoration activi- centre’s future are: of HALLE 14’s significance within Leipzig’s investment: 1.2 million Euros). The installation ties, partner acquisition and future fundraising cultural landscape. The wide variety and high of infrastructure and all fire security require- strategies were the main topics of this workshop. ›› the development of the building, quality of the projects at HALLE 14 and the ments, the construction of a third staircase The most important issues and outcomes were ›› the financial situation in general, partners’ programmes along with their draw for and the develop­ ment­ of several spaces were the strengthening of HALLE 14’s economic posi- ›› and the search for partners. local citizens as well as national and interna- the main activities, carried out between August tion while continuing to follow the non-profit tional visitors were and are well-regarded by 2011 and April 2012. The remaining 35 % of concept, the support from the Spinnerei for These aspects were named in the development city and state officials. The dedication of the the investment had to be financed by the own- further renovation and infrastructure activities vision. The utilisation concept deals with them in board and team of the HALLE 14 association ers of the building, the Leipziger Baumwollspin- and operation costs and finally the intention to more detail. and the continuing support of the Federkiel nerei Verwaltungsgesellschaft­ mbH. A convinc- step-up the acquisition of exhibition and studio Foundation and the owners of the Spinnerei, ing concept for further building development partners who can contribute to HALLE 14’s con- combined with their financial commitment, and a strategy for securing the medium- and cept and budget. Implementing the Concept were additionall for decision makers. The long-term financial situation of the art centre participation in the EU-funded project SECOND were needed to make this possible. This was In keeping with the results of the stakeholder The development of the building was unexpect- CHANCE finally assured them that HALLE 14 reached by a revision of the existing utilisation workshop, the development vision for HALLE 14 edly accelerated in 2011. The funding awarded in deserved ongoing institutional and capital concept and a strengthening of the partner identifies three areas with large development 2009 by the City of Leipzig to the Spinnerei and support. concept.

60 II. Project Second Chance Leipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space 61 The partner concept rounds out HALLE 14’s activi- Now new partners need to be found. As part of the can also be provided as a form of support to art- non-profit concept of HALLE 14. According to the ties and helps to guarantee a workable financial site-specific PPP concept for HALLE 14, strategies ists by the HALLE 14 association, the Federkiel art centre’s mission statement and the conditions situation. Through cooperations with exhibition are being developed on how to search for medium- Foundation or one of the exhibition partners. They of the public funding for all restoration activities, and studio partners as well as some partners for and long-term non-profit partners. An open call can also be made available to international guest no commercial companies or activities are allowed storage and workshop spaces, it outlines a solution might be one option, while relying on the existing artists. Another type of studio partnership is the inside the building. The non-profit status and the for continued economic stability. network of curators, museum directors, artists and collaboration with other residency or fellowship non-profit management are mandatory. Still, the art professors is another. programmes. low usage and coordination costs that all partners There are four spaces – between 1,000 and are asked to pay help to cover a part of the opera- 3,800 m² in size – for exhibition partners. These Partnerships for the artist studios are the second The pilot investment was completed in April 2012. tional costs. Thus, the degree to which HALLE 14 partners are expected to implement an autono- main objective. Thanks to the pilot project within Some of the studios were already finished in depends on private support and public funding mous programme of contemporary visual art with Second Chance, 11 studios were erected and de- February, so the first artists could move in then. will be reduced to a realistic and workable ambitious exhibition and outreach concepts. Ide- veloped on the first and second floor of HALLE 14. Currently, 11 out of 14 studios are used by guests percentage. ally, the partner brings a team for exhibition instal- This marks the first construction of smaller units in and supported artists, two residency programmes lation, technical assistance, visitor service, public the building, made for individual use and equipped and a residency partnership with the City of Košice The owner of HALLE 14, the Spinnerei GmbH, will relations, etc. HALLE 14 is interested in long-term with heating, light, external sanitary facilities, (SK). These first experiences are being used to remain an important partner, less so financially cooperations; three years has proved to be a good internet and – in some cases – furniture. There will develop the partnership concept that is included in than conceptually and strategically. This is another period in the past. With their programmes, the be 14 artist studios in HALLE 14 altogether. the site-specific PPP concept. It has already been central topic in the site-specific PPP concept. partners contribute to the building’s new function remarked how the short- and medium-term visit- The management of the additional partners as well and development. They are asked to pay a usage One or two studios will host the international fel- ing artists complement the internationalisation of as the ongoing acquisition of exhibition and studio and coordination fee for their space; in accordance lowship programme Studio14. International artists the Spinnerei and the activities of the art centre partners asks for a multi-level collaboration, with the non-profit concept of HALLE 14, this fee is can apply for a four-month research and work pe- HALLE 14. Though yet to be defined, cross-fertili- if for no other reason than to give the management very low. However, due to the enormous size of the riod in Leipzig. Artists are invited to apply through sation between the visiting artists and the existing and team of the art centre HALLE 14 the possibil- spaces, these fees still help to finance a portion of an open call with a changing thematic focus, and projects is a possibility. ity to focus on what they do best: develop and the operating costs. an external jury of experts selects the fellows. organise ambitious, engaging and multifaceted It is essential that all partnerships – exhibition, exhibitions and projects of international As HALLE 14’s partner from 2008 until 2010, the The other studios are available for the use of studio or storage and workshops – follow the contemporary art. Columbus Art Foundation (Ravensburg, DE) used partners. Different kinds of studio partnerships an exhibition space on the second floor to host are possible. ‘Residence14’ aims to cooperate with group shows like Wollust (2008) and schrägterrain national and international cultural institutions, (2010) as well as exhibitions linked to its grant pro- municipalities, academies or galleries. The partner gramme. Adjacent to the Columbus Art Foundation, institution provides the financial means to send the ‘Installation and Space’ class of the Academy an artist from its city or country to Leipzig for of Visual Arts Leipzig used the exhibition platform several months. Ideally, the partners pay for travel, Universal Cube from 2006 to 2011. Universal Cube accommodations and a coordination fee, as well presented curated class exhibitions and student as giving the artist a stipend. The selection process www.halle14.org projects, as well as collaborations with other Euro- for the guest artist is defined jointly by the sending www.spinnerei.de pean art academies (Geneva, Linz, Lyon). and the hosting institutions. Studios at HALLE 14 www.aufbauwerk-leipzig.com

62 II. Project Second Chance Leipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space 63 Page 64: The Porta Nuova Tower at the water entrance to the Arsenale site Venice factory in the world, and for centuries it was Research Centre) have included several expositions just that. on environmental issues in the area.

The buildings and associated production sites The area of the Arsenale is owned by the State maintained their original use with constant physi- through the Ministry of Defence -Navy (62 %), the cal and functional adjustments, right up to the historical and artistic branch of the government beginning of the First World War. By this time, it department for state-owned land and property was no longer possible for the Arsenale to meet (36 %) and the Ministry of Infrastructure and the needs of the ship-building industry in the Transport (2 %). lagoon and production activities were moved to the mainland. Following the passing of a spending review law (August 2012), the ownership of the Porta Nuova The Italian Navy remained at the Arsenale, con- Tower passed from the State to the Municipality of tinuing to use the area in a limited way. But the Venice. shipbuilding facilities have been progressively abandoned, and the entire Arsenale has fallen The Porta Nuova Tower was built between 1809 into disrepair and neglect. and 1814 as part of a reconstruction of the Arse- nale initiated during the second French dominion. The Venice Biennale’s entry into the Arsenale in As part of the reconstruction of Porta Nuova, a new 1980 on the occasion of the first Architecture entrance to the lagoon was created in the eastern Exhibition organised in the Corderie (the building perimeter fence of the Arsenale. The impressive where ropes were made) was the first important 35 m high tower was built to mount the masts of The Brain for Arts, Science and Culture: initiative aimed at converting the former shipyard large ships. Recently, the state of neglect of the into a place where art and creativity could tower’s structures was so advanced that visits were The Porta Nuova Tower flourish. not allowed for safety reasons.

History and Current Situation In 1997, Thetis, a company active in the field of In 2006, the Arsenale di Venezia organised a marine technologies, located operations in the design competition for four works to be realised at The Arsenale of Venice is a monumental complex north area of the complex, thereby contributing the Arsenale. As a result of the competition, the ar- of great historical value: the entire area spans to realisation of the aspiration of the Arsenale chitects Traudy Pelzel and Francesco Magnani de- 478,000 m², which includes 136,380 m² of covered developing into a scientific and cultural centre veloped revitalisation plans. Construction work was areas and 224,620 m² of open areas encircling of the city. An important step in this direction carried out under the supervision of Beni Culturali 117,000 m² of waterfront docking space. The was the creation of Spazio Thetis – an organisa- (Cultural Heritage) and completed in 2010. The ob- Arsenale was built in the 12th century as the main tion dedicated to organising exhibitions bringing jective of the project was to conserve the historic shipyard for the Venetian Republic. It was devel- together artistic and scientific dimensions. Re- buildings in the area by linking preservation work oped to become the most important shipbuilding search activities undertaken by the CNR (National to meeting requirements of the area as an emerg-

64 65 The spaces of the tower: Roof Floor: Roof Terrace, 55 m² – Second Floor: Offices, 95 m², Entrance Exhibition room Conference room Toilets, 6 m² – First Foor: Exhibition room, 170 m² – Disturbution: Offices Toilets Distribution Vertical, Horizontal – Ground Floor: Conference room, 70 m², Entrance, 56 m², Toilets, 18 m², Offices, 26 m²

ing exhibition and cultural centre. The renovation with the Venetian art and culture communities has of the Porta Nuova received the Piranesi Honorable been a key feature of the project and has helped to Mention, an international award for architecture generate significant impetus for revival of the area organised in Slovenia and also the Torta Prize, an through artistic production and experimentation. important prize in the world of historic building restoration. The underlying idea was based on the conviction that the Porta Nuova Tower can be adapted to meet the needs of different types of activity: events Implementing the Concept for bringing together and exchanging cultural and artistic experiences, artistic workshops, dance and One of the main features of the SECOND CHANCE theatre performances, music events, visual arts project has been the involvement of local artists and exhibitions. and cultural associations in developing the revitali- sation programme for the Porta Nuova Tower and The original purpose of the investment was to its surrounding area. Contact and communication furnish and equip the main exhibition hall of the

The new staircase is a self-confident intervention made of rough materials like iron and concrete.

66 II. Project Second Chance Venice | The Brain for Arts, Science and Culture: The Porta Nuova Tower 67 ›› Cultural Exchange of artists with ›› Research activity with the IUAV, the University SECOND CHANCE partners in 2012: of Architecture in Venice. A year-long research has been initiated to create a visual history ›› sound exhibition of Tanja Hemm from of the Arsenale of Venice. The research is on- Nuremberg; going and comprises part of the pilot project to redefine uses for the Tower. The output of ›› video-photo exhibition of Primoz Bizjak the research will be a presentation for both the from Ljubljana. general public and for specialists, which will be available free in the media room. Users will be ›› Open day for an European ‘At the Fort’ able to visualise the evolution of the Arsenale project meeting in the Tower; area over the centuries, and learn about the details of specific sites (including the Porta ›› Conferences on the history of the Arsenale Nuova Tower). Part of the presentation will be organised with a local stakeholder – the available through a touch screen in the en- Renato Meneghetti (IT), Optional, 2006, presented on the occasion of the opening of the 12th International Architectural Exhibition, August 2010 Arsenale Study Centre (Centro Studi Arsenale). trance to the Tower. A second output will be a Children, youth and students along with video to be made available on site and on-line. their teachers and interested citizens Porta Nuova Tower. Following the conclusions er. Offices/studio spaces have been completely fur- participated; The Tower is now used for public events such as from SECOND CHANCE meetings with partners and nished with desks, chairs, computers, printers, etc. exhibitions, conferences, laboratories, music con- stakeholders, the pilot investment was modified They are used by visiting artists, especially cultural ›› Meetings and conferences organised by the certs, theatre and film performances, as well as for and extended to the entire Tower – to develop all exchange artists, and also by curators during the CNR-ISMAR (National Research Centre), includ- research and artists using studios to work together tower’s spaces and make the building the ‘brain for Biennale of Contemporary Arts and by researchers ing a session on ‘Crisi climatica, energetica, with the project partners and local stakeholders arts, science and culture’ of the Arsenale. from the University of Architecture (IUAV). alimentare: preparare resilienze individuali e – organisations operating within the Arsenale, as collettive’ by journalist Luca Mercalli; well as art and culture associations from outside The purpose of the pilot project was to bring the The project facilitated collaboration linking several the area. Example activities have included: Tower back to life by adapting its spaces to the different partners – the Music Academy and Uni- ›› Exhibition on sea level representation different needs of its ‘inhabitants.’ Several pre-in- versities, video and photo laboratories and the Na- (Batimetry) organised by CNR-ISMAR; ›› A series of concerts organised in partnership vestment studies were completed to identify needs tional Research Centre, the theatre company and with the Music Academy and in relation to furnishing and IT equipment. schools. These linkages have contributed to the ›› ‘A Vele Spiegate’ events, which included work- Teatro Fondamenta Nuove in April; development of the current and future program- shops and concerts organised by several young The spaces of the Tower have different features: ming of the pilot project. A variety of activities, all local artists as a result of collaborations with ›› Video and photo workshops organised on the ground floor, a conference room has been of which provide for free public access, illustrates local institutions; with Shylock CUT; equipped with tables and audio and projection the nature and scope of ongoing collaboration systems. It has been used to date for meetings of between the Arsenale of Venezia spa, the City of ›› Video and photo workshops organised in ›› Visual art exhibitions as satellite events various kind, including National Research Council Venice, local stakeholders and SECOND CHANCE partnership with Shylock CUT (University Centre of the Biennale; conferences, history laboratories, etc. The entrance partners: of Theatre in Venice). This association was also is equipped with a touch screen where visitors and part of the cultural exchange with the City of ›› Ongoing IUAV information system research; users can find information about SECOND CHANCE ›› Opening of the Tower on completion of Nuremberg. Laboratories are taking place every and the different activities taking place in the Tow- building restoration work (8th April 2011); two weeks and are now an on-going activity. ›› CNR exhibitions.

68 II. Project Second Chance Venice | The Brain for Arts, Science and Culture: The Porta Nuova Tower 69 In terms of developing and implementing an In this model, the concessionaire would lead on organisational development strategy for the future, the organisation of special events, including cor- two different operating models have been exam- porate events, conferences, social events and other ined and compared. events connected to the Biennale. All revenues and costs, including an annual lease payment, In the first organisational model considered, all the from these activities would accrue to the conces- Porta Nuova Tower activities would be managed di- sionaire. Given that the concessionaire is to be rectly by a new Arsenale institutional body. In this an experienced professional business organisa- case, the Porta Nuova activities would be managed tion, risks associated with generating insufficient as a part of the Arsenale area as a whole. The new revenues to cover costs would be reduced to a institutional body would carry all the operational minimum. and financial risks associated with organisation of special events, including Biennale events, as Public activities, including concerts, performance well as other for-profit and not-for-profit activities events, educational activities would be managed Concert in the exhibition hall of the Tower of Porta Nuova (education, concerts, performance events, etc.). In by the new Arsenale body in cooperation with this model, all fixed and variable costs related to the local municipality or cultural associations. organising activities must be covered by the new The Arsenale would play the role of an intelligent The activities of the pilot project involve around Musica B. Marcello of Venice and the Laboratorio Arsenale institutional body from revenues gener- administrator with respect to leasing areas to third 10 stakeholder institutions and associations. Nova Musica, a Venetian cultural association, ated and from external fund raising. party companies, ensuring that concessionaires were involved in a variety of activities. Concerts focus on their own area of responsibility. Key target groups include local residents and attracted large audiences, and many Venetians A second option involves building a more sustain- international visitors, both tourists and those visited the Arsenale for the first time in their able business model, both in terms of financial All the stakeholders involved in the ‘launch event’ with specialised interests and expertise. lives. ‘Music for Our Time’ served also to test the outcomes and risk management related to the of the Tower are keen to develop, and build upon, a ‘acoustic potential’ of the Tower. The musicians eventuality of generating insufficient of revenues common experience that has defined the past few The activities associated with the Tower have found the acoustics of the Tower delightful as if to cover the fixed costs of the Porta Nuova Tower. In years. generated work for private local service provid- it had been built specifically for playing contem- this second organisational model, the new Arsenale ers: security/surveillance, cleaning, guardians. porary music. Success of this pioneering experi- institution will be the promoter and manager of ac- The success of a variety of different activities can This has also helped the Tower be recognised ence will certainly encourage similar activities tivities connected to culture, education, arts, science be attributed to the working relationships which as a contributor to the social, cultural and eco- in the near future. and other activities – defined together as public have been forged between different cultural nomic development of the city. interest or not-for-profit activities. The Arsenale agencies and institutions as the Conservatorio di A number of other activities, such as the ongoing would rent out the Tower to a specialised company Musica, the IUAV, the Teatro Fondamenta Nuove, research of the IUAV, conferences and meetings – a concessionaire – which would be responsible for Shilok, the Centro Studi Arsenale, and the Labora- Ideas for Future of local stakeholders have already been planned. organising events and business activities under an torio Nova Musica. New partnerships are already The new Laboratory of Contemporary Music arrangement where the Tower would be available for being developed to identify, promote and deliver Thanks to SECOND CHANCE, the Porta Nuova will give the Tower a distinctive identity and public events at certain times of the year. other activities of common interest. Tower hosted in 2013 a very successful program function. The Laboratory will provide users of workshops, trainings and concerts devoted with the opportunity to move step by step in to the ‘Music for Our Time.’ More than a hundred realising an artistic production from idea www.arsenaledivenezia.it young musicians from the Conservatorio di to result. www.comune.venezia.it

70 II. Project Second Chance Venice | The Brain for Arts, Science and Culture: The Porta Nuova Tower 71 ul. ´sw. Wawrzy ´nca

F C Krakow I E2 E1 B

C

ul. Gazowa ul. H2 G H1 D1 D2 D3 D5

D4

B Museum office D4 History of the Polish car industry G Restaurant C Conservation workshop D5 Temporary exhibition hall H1 Polish Song Library D1 Around the circle E1 Temporary exhibition hall H2 Krakow Model Railroad Club D2 Temporary exhibition hall E2 Typography in Krakow 15th–20th century I Garden of New Words D3 Museum library F Trams on the Wawrzynca street

Map of the site, showing the current utilisation of the buildings

Page 72: Christoph Krane, Sculptures, displayed on the courtyard of the Quarter of St. Lawrence in 2011

exhibitions on the history of science and technol- Belgian and Polish architects H. Geron, Karol Knaus, Education and Recreation: ogy. It is the first museum of its kind in Poland. Franciszek Maczynski, Tadeusz Stryjenski and Eugeniusz Ronka. The Museum of Municipal Engineering The museum is located in the Kazimierz district, in the St. Lawrence Quarter. It is a building complex The museum was founded by the City of Krakow History and Current Situation consisting of tram depots, bus garages, adminis- as a municipal cultural institution and established tration buildings and technical facilities, located as a separate legal entity. The municipality is the Established in 1998, the Museum of Municipal in the centre of Krakow. The complex includes owner of the land and the historical tram depot Engineering in Krakow gathers, preserves and pre- eight historical buildings and two temporary complex. In 2005 the City leased both the land sents unique technological artefacts: landmarks of metal sheds, providing a total usable space of over and the complex to the museum for a period of the Polish automobile industry (the largest collec- 4,000 m², as well as a courtyard with an area of 25 years. The city also co-finances the museum’s tion in a public museum in Poland) and municipal 3,500 m². The buildings were constructed between ongoing activities and investments. transportation as well as other urban technology 1882 and 1929 consisting of a timber-frame and including printing presses, household and office brick construction (wooden posts and beams with The Kazimierz tram depot was in use until the technology. The museum also presents interactive braces). They were designed by the prominent 1960s, when almost the entire track layout was

72 73 Classic Moto Show 2012 – an annual show of vintage vehicles held in Museum of Municipal Engineering in Krakow. Gumball 3000 in Krakow, May 2013.

removed. Converted to warehouses, workshop plex to fulfil its cultural functions. Seven Quarter – building of a cultural centre in Krakow’s Projects in the St. Lawrence Quarter are planned facilities and bus and special vehicle garages, the historical buildings (B, C, D, E, F, H and J, see p. 73) Kazimierz’, which was co-financed by the European as complementary to other projects to be imple- buildings gradually lost their original function, and the historical courtyard were included in the Regional Development Fund. mented in other post-industrial areas of Krakow, which led to their degradation. programme. Additional four buildings (B, C, E including the Zablocie district with Oskar Schin- and F) were also renovated with conservation dler’s factory, the Podgorze Power Station and the Because of its unique historical and architectural work carried out in buildings J and H. Conserva- Implementing the Concept former Rakowice-Czyzyny airport. Revitalised post- features, the historical complex with its courtyard tion of building D was limited to the basement. industrial and post-military areas in Krakow are was registered as a UNESCO World Heritage site in The renovation of the courtyard has now been As a revitalised post-industrial site, the Museum more and more often regarded as a ‘fashionable’ 1978 and is also considered a Historical Land- completed. of Municipal Engineering and the St. Lawrence location for cultural and creative industries. mark, in accordance with an Ordinance of the Quarter more generally, have great potential for President of Poland issued in 1995. A rail track has been installed to connect the development as a modern area for culture, art, Participation of the Museum of Municipal En- museum (hall F) to St. Lawrence Street. As a re- leisure and individual creative activities of artists gineering and the Municipality of Krakow in the Restoration of the depot started in 1985. How- sult, old trams can now access the city tram and authors. SECOND CHANCE project was preceded by long- ever, public funding allocated for this purpose system and move around the museum site, term investment works related to restoration and was limited until 2007, enabling the museum to offering new opportunities to engage with the Revitalisation projects in the St. Lawrence Quarter conservation of the industrial heritage site at the operate in only a very limited way. More extensive public. Hall F is now used as a depot for old trams, have been included into urban planning docu- St. Lawrence Quarter. The main goal of the restora- restoration work of the site began in 2007. restored to use in the years 1985 to 2008, and ments and strategic development and revitalisa- tion was to preserve a unique character of the site: also as a space for exhibitions and other cultural tion programmes prepared by the City of Kra- a former tram depot located in Krakow’s historic Between 2007 and 2010 extensive conservation projects. kow – ‘The Old Town – Local Revitalisation Plan’ Kazimierz district, which dates back over 100 years. and renovation work was undertaken as part of and ‘Strategy of Cultural Development in Krakow Physical restoration work of the site was complet- the revitalisation programme of the Kazimierz A considerable part of these activities was for the years 2010–2014’. ed in 2010 and in large measure has defined the district in order to adapt the post-industrial com- completed within the project called ‘St. Lawrence future role of the restored industrial space. Those

74 II. Project Second Chance Krakow | Education and Recreation: The Museum of Municipal Engineering 75 Museum courtyard and hall D after revitalisation works carried out within the Second Chance project. Historic tram LH Standard type and bus Rugby Express L against the building of former standard-gauge tram depot (built in 1912).

involved in the revitalisation process have been The pilot investment realised in 2011 – 2013 history’ and of interest to all visitors. A visual conferences, workshops and an outdoor cinema) aware all along that the site requires not only sought to respond to the needs of 3 groups: art- identification system was designed (informa- attracted over 50,000 visitors. physical redevelopment but needs also a new ap- ists (visual arts, performing arts, music), visitors tion and sign boards) accordingly and informa- proach to creating multifunctional public spaces (especially families) and stakeholders (local SMEs, tion on the museum was included in electronic As a direct effect of the SECOND CHANCE project, focused on culture. resident groups, local authorities). The scope and information boards, touch screens and audio the museum initiated cooperation with a historic priorities were defined as follows: guides. tram association in Nuremberg, the Nuremberg- The process of creating a cultural centre in Freunde der Fürther Straßenbahn e.V., which led to the former tram depot was initiated when the 1. Creation of a family friendly open space on 3. Creation of a year-round conference space an exhibition held in both Krakow and Nuremberg museum was established in 1998. But it is only the Quarter’s square, with a facility for hold- for stakeholder and other meetings (approx. in 2012 called ‘Nuremberg – Krakow – back and with completion of key renovation work in 2010 ing outdoor cultural activities (presentations 100 m2), which was prepared in conjunction forth’ (Nurnberg – Krakau. Hin und Zurück). that the focus shifted to working out how the and displays of technology and motorisation, with repairs to the roof on Hall D6 (with a museum would manage the site with the City concerts), enabling entertainment and leisure surface area of 120 m2) located right next to Both the museum and the City of Krakow took an continuing as the owner. An important prior- and providing outdoor exhibition space (artistic the square. active part in the culture exchange component ity was to intensify the promotion activities of and popular-science exhibitions). As a result, with SECOND CHANCE partners. Two artistic events the site in order to make it more visible and to two interactive installations for children were The investment work was completed in 2013. The took place in the museum: Borut Peterlin’s pho- attract visitors and investors to the St. Lawrence developed. The museum purchased equipment cultural programme offer developed and initiated tography exhibition ‘Great Depression 1912 – 1913’ Quarter. needed for organising outdoor cultural events: earlier brought about numerous positive effects. (16. 5. – 16. 6. 2013), which involved cooperation tents, stage platforms, a multimedia projector between partners from Krakow and Ljubljana and SECOND CHANCE activities delivered around and a screen, laptops. Results of the pilot investment are presented to Zoy Winterstein’s concert ‘ETA 319 KYR’ held in the pilot project in the years 2010 – 2012 were visitors to the museum. In the period May 2012 to Krakow (20 / 21. 7. 2013), which involved coopera- focused on establishing a theoretical basis for 2. Creation of a visual identification system to June 2013, the museum organised over 30 new ac- tion between Krakow and Nuremberg. Cultural defining the investment and cultural program- improve the visibility of the site and to help tivities in the newly created and equipped spaces. exchanges organised by the museum included also ming needs and opportunities. identify the former tram depot as a ‘place with These events (exhibitions, shows, open days, public a study visit of museum employees to partners

76 II. Project Second Chance Krakow | Education and Recreation: The Museum of Municipal Engineering 77 2. New arrangements for existing permanent exhibitions. A. Development of the museum infrastructure to enable rearrangement of the exhibition in Hall D. Investment works in the hall are a priority in this regard as they will enable a new arrangement of the automobile ex- position (‘The history of Polish automotive industry’). B. Attracting external funding for infrastructure development: European funding from the new financial perspective 2020 (regional, national and international European Union Conference organised by Malopolska Turist Organisation in Museum of Municipal Engineering in Krakow, May 2013. Exhibition Memoirs of Luxembourg Radio in the hall D modernised within programmes), the EEA Financial Mechanism the Second Chance project, March 2013. and the Norwegian Financial Mechanism).

cities of Leipzig and Nuremberg in 2013. The key Ideas for Future curring events through regional and international 3. Development and modernisation of the Stani- output of all the exchange activities is to be a collaboration. This approach will help build the slaw Lem Garden of Experiments in Krakow. framework for organising cultural events in the The final output of the project involved the mu- reputation of the museum as a place offering high A. Development and implementation of an museum in the three-year period 2013 to 2016. seum and City commissioning a group of experts quality cultural experiences, while contributing interdisciplinary programme that will This involves putting together a list of priority to prepare the museum management plan. The also to addressing city and region-wide social and actively involve visitors in learning through projects through a consultation process with plan summarises ideas contributed by project economic development challenges. entertainment. cultural institutions from partner cities. partners and defines priorities and actions to be B. Improving the promotion of the Garden as implemented over the coming 6 years in order to Strategic objectives concerning the development an innovative cultural tourism destination The museum has initiated its first public-private achieve long term aspirations articulated through of the museum as an institution documenting city for visitors to Krakow and the Malopolska project, encouraged by the experience gained SECOND CHANCE. life from the perspective of urban engineering, sci- region. through the project, especially the PPP seminars ence and technology can be articulated as follows: and stakeholder workshops. A PPP agreement The Museum of Municipal Engineering now has a 4. Development of the museum as a research was first signed in 2012 between the museum space and collections of great potential, with one 1. Extending the Museum of Municipal Engineer- centre and a private company to develop the museum’s of the oldest industrial sites in Krakow and a tram ing’s collection by creating and arranging a new A. Initiation of in-house research in the field Garden of Experiments. The private company and bus depot of European significance. Thanks permanent exhibition. of history of urban engineering, technology provided a 5D spherical cinema facility to attract to SECOND CHANCE, the museum has improved its A. Preparing a concept for the exhibition as and science, and inspiration for others to more visitors to the Garden. The private partner visual identification as a post-industrial monu- one of the brand building tools critical to undertake related research; owns and operates the cinema facility in return ment and has started to attract new visitors and the further development of the museum. B. Regular thematic conferences for a share in incomes from ticket sales. The partners regionally, nationally and internation- B. Fund-raising for development of the mu- (e.g. a conference on maintenance and museum also benefits from the income gener- ally. Project activities have helped to nurture new seum’s collection. protection of museum collections) ated, while meeting its objective of increasing relationships, which will lead to new collaborative its visibility in the City in order to attract more projects in the future. To sustain activities already www.mimk.com.pl visitors. initiated, the museum will focus on organising re- www.krakow.pl

78 II. Project Second Chance Krakow | Education and Recreation: The Museum of Municipal Engineering 79 Ljubljana

How the little workshop for big ideas was installed. Page 80: RogLab is a pilot project for future Rog Centre.

factory operated successfully until the economic a short-term basis to users who develop cultural, crisis of the 1930s. From 1938, the factory was artistic, urban sport and social activities. managed by the Indus company, a leather and leather products producer, which continued to The Rog factory is one of the last well preserved ex- operate during World War II. After 1952 the Rog amples of old industrial architecture remaining in factory started manufacturing bicycles and (at the city of Ljubljana and happens to be located in RogLab – the factory first) typewriters. Operations continued until the a decaying post-industrial area in the eastern part early 1990s, when production was finally closed of the city centre. According to city development that is making itself down. plans, revitalisation of the Rog factory area is to transform the district from an area of neglect into History and Current Situation In the 1990s, the abandoned factory building an important development axis of the city centre. was used from time to time for cultural events The renovation of the Rog factory is a crucial ele- Industrial use of the area and construction of such as art and design festivals. The area was ment in the city’s redevelopment of the Ljubljanica the Rog factory dates back to 1871 when the also repeatedly recommended for public cultural riverbanks, through which city life is to be recon- Janesch (Janež) tannery started operations. After programmes. For example, the international nected to the river. 1900, the tannery was bought by Carl Pollak who ‘Eurocities’ colloquium hosted in Ljubljana in renovated and extended the factory building and 1995 was organised in the area. In 2002, the City In 2007, the City of Ljubljana focused attention expanded leather production. The rebuilt factory of Ljubljana leased the Rog factory grounds from on revitalisation of the whole Rog factory area, was the first example of a visible iron-concrete the site’s owner at the time, the LB Hypo Bank. which involved plans to retrofit the factory build- skeleton construction in Ljubljana. The Pollack Since 2006, the premises have been rented on ing into a Centre of Contemporary Arts. In line

80 81 The Rog factory represents one of the last preserved quality examples of old industrial architecture in Slovenia. The degraded post-industrial area of Rog factory is in the centre of Ljubljana.

with terms of reference provided by the City of side facing the Ljubljanica River. The revitalisation Implementing the Concept design and contemporary art. The economic crisis Ljubljana in 2007, a group of experts prepared a project was to have been implemented on the in Slovenia has forced changes to the assump- draft programme for renovating the old factory basis of a public-private partnership model that The City of Ljubljana joined the SECOND CHANCE tions underlying the revitalisation plans for the into a centre for architecture and design. The draft was adopted by the City Council in 2009. The initial project three years after the beginning of the former Rog factory and so also the offering of the programme was modified by the City of Ljubljana investment sum allocated to the project by the City revitalisation of the Rog factory area. Since urban production space. The challenge was to design a to include visual arts as part of the planned Centre was reduced in 2011. and architectural plans for revitalising the former project which would be feasible economically and for Contemporary Arts. Urban plans designated the factory and its surrounding area were largely com- embedded in the local community, and therefore area of the Rog factory for housing, business and The future Rog Centre is to be dedicated pri- pleted, and the main purpose of the future cultural sustainable. The conventional top-down approach culture development. In 2008, a design competi- marily to activities in the fields of architecture, centre was also defined, SECOND CHANCE project to cultural and urban planning aimed at boosting tion was held for architects and urban planners, design and visual arts, facilitating interaction and activities focused on the development of a new economic development of the city through cultural which resulted in the selection of, a proposal cross-sector collaborations (economy, education, cultural institution: its programming and possible tourism and support for creative industries proved prepared by the MX_SI studio of Barcelona (ES). The science, environment, space), as well as interna- organisational forms. In this sense, this EU-funded incompatible with local needs and circumstances. proposed renovation of the Rog factory building tional networking. The area is to offer Ljubljana the project represented an unusual opportunity in for use as the Centre of Contemporary Arts was public infrastructure that has so far been missing Slovenia to focus on cultural planning as participa- RogLab was conceived as a small scale production to be accompanied by the construction of a new for organising larger exhibitions and artistic and tive process. and cultural space in a 30 m² container located extension for a large exhibition venue (total space creative productions. The city’s goal is to develop a in the wider area of the former Rog factory – of ca. 12,000 m²), an underground car park (578 dynamic international centre where different dis- A pilot project for the future Rog Centre called the Petkovškovo riverbank. The project is focused on spaces), a hotel (at Trubarjeva Street), apartments ciplines as well as public, civic and private sectors RogLab was established in 2012 as a tool for iden- activities connecting the fields of architecture, (at Rozmanova Street) and commercial spaces on synergistically collaborate to generate new creative tifying, testing and developing possible models for design and contemporary art, and facilitating the ground floor of the former Rog factory on the and innovative programmes. a new production centre dedicated to architecture, cross-sector collaboration between economy,

82 II. Project Second Chance Ljubljana | RogLab – the factory that is making itself 83 Children drawing fictional characters that were later cut out with foil cutter and applied on a shirt. In an open window of RogLab there is a clear reflection of the The drawing made by autonomous drawing dance of simple little robot that has pens as legs. former Rog factory.

education, science and environment. RogLab is attractive to industrial designers and for all those In less than one year RogLab has organised more RogLab staff visited the FabLab in Nuremberg in a public facility with a strong cultural dimension who are in need of instantly realised prototypes, than 50 public events – from production work- spring 2013 where they benefited from technical – a space for social activities, experimenting and functional models, products or maquettes in shops to cultural education events, lectures and and management training. Another product work- exchanging ideas. The facility serves as a support limited numbers. Supported by experts, users can exhibitions. Additionally, RogLab offers services shop on Smart-wear was organised in Ljubljana platform for creative individuals and companies, implement their ideas by turning a sketch on a such as trainings for independent use of 3D tech- by FabLab Nuremberg in May 2013. The transfer providing a new production space for develop- piece of paper into a computer design and then nologies and consulting in the fields of intellectual of technical skills in intelligent textiles production ment of products and services responsive to the into a finished product. The goal is to speed the property, product development, designing business provided the basis for a new RogLab programme needs of the creative professionals on the one creative production process from idea to finished models, and rapid prototyping. Technical support focus. In June, the RogLab coordinator visited hand and the contemporary economy and society product, while fostering a culture of learning and is provided for independent public use of RogLab Nuremberg to discuss plans for the future collabo- on the other. creativity. machines once a week during an open day. On ration between FabLab Nuremberg and RogLab. average RogLab is open to the general public two The exchanges have contributed to establishing An integral part of RogLab is a 3D production RogLab’s programme focuses on stimulating the to three times a week. valuable and lasting professional connections workshop, which offers basic technology and ser- creative use of 3D technologies by encourag- between the two Labs. vices for rapid prototyping tailored to the needs ing connections between creative activities and Cultural exchange within the frame of the SECOND of a wide spectrum of users – from students and business opportunities, enabling interdisciplinary CHANCE project provided important support for The RogLab programme is based on collaboration professionals in the fields of design, architecture collaboration as well as enhancing research and RogLab development. In November 2012, profes- with 15 companies and NGOs, as well as cultural, and visual arts to passionate artisans and curious innovation oriented creativity. The priority is to sionals from FabLab in Nuremberg organised a research and educational institutions. This network children. The 3D workshop offers in one place develop projects that deal with pressing challenges hands-on workshop on using 3D technologies of partners provides a capability for development everything necessary for a personalised 3D- of urban environments and contemporary issues in Ljubljana. They also lectured on new business and implementation of projects, programmes and production – from equipment and tools to expert in architecture and design, which take into account models based on new production trends, which related activities, optimising the use of existing advice and services. The service is especially social and environmental responsibility. involved connecting 3D technology to IT systems. public culture infrastructure, and for engaging with

84 II. Project Second Chance Ljubljana | RogLab – the factory that is making itself 85 Sewing intelligent textile with an electro-conductible thread. The workshop was performed by Fab Lab Nuremberg. Inside RogLab the technician is giving consultation on how to adapt specific design and prepare files for optimum use of 3D technologies.

the widest possible circle of professionals and ing from workshops, consultancy and training. Ma- Ideas for Future experts in 3D technologies provided by two partner interested citizens. terials prepared as part of individual consultancy organisations that also maintain the technical is charged to the user, whereas the materials for To date, the project has had to overcome several infrastructure and offer professional support to The motivations and interests of partners vary – most workshops are provided free of charge. For obstacles, which have mostly been transformed other partners. The team meets on a weekly basis. from promotional needs to the need for facilities now RogLab is not charging service fees to partners into opportunities. RogLab has become a living The remaining 13 partner organisations are linked and desire for new partnerships. Two of the part- on the grounds that the common goal is now to prototype of a production space that connects into ongoing operations by the management team ners are organisations specialising in the field of strengthen the RogLab community. various disciplines and organisations focused on through specific events that are being planned. 3D technologies. Their task is to provide technical culture and creativity. With its ‘hands on’ approach, Each year, all the partners meet together in an support to other partners in their activities. Some The 15 RogLab partners are key organisations the RogLab pilot project provides a basis for assembly. of the partners, such as educational institutions, in the field of design, architecture and fine arts developing a new Rog Centre – generating creative are mainly using Roglab facilities for their own in Slovenia. They are co-creating the RogLab content, nurturing users and an appropriate busi- RogLab promotes its activities via social media, production or education purposes. All partners are programme, offering professional assistance to ness model for the new institution. Small steps a weekly newsletter, a bilingual web page, and expected to propose at least one public event each internal and external users, providing important contributing to a dynamic and interactive develop- through networks of its partner organisations. year such as a workshop, lecture or presentation. feed-back based on their use of the space made ment have proved to be an effective method, as available by RogLab. Dialogue and discussion with this responds effectively to changing needs and The need to connect many disciplines, stakehold- The first year of the RogLab programme has been stakeholders is fundamental for RogLab develop- circumstances and helps in dealing with an uncer- ers, partners and interests demands that RogLab financed in part by the programme partners with ment. tain future. develops an appropriate organisational structure. co-financing from the City of Ljubljana. RogLab focuses on creative industries and market The management model of the RogLab is evolving oriented production, but at the same time must Partners can charge other partners a cost-recovery in similar fashion. The core RogLab team consists maintain its role as a public institution ensuring fee-for-service. This involves billing users benefit- of two project managers, a coordinator and three that public infrastructure is used for cultural and

86 II. Project Second Chance Ljubljana | RogLab – the factory that is making itself 87 perspective, it is worth noting that the location of Rog Centre. Coupled with the SECOND CHANCE the future Rog Centre has also strong geo-cultural research results, the RogLab experience has served significance related to facilitating potential links to transform the documentation prepared for between Slovenian creative resources and those the Rog Centre. Following renovation of the Rog available in South-East Europe. Experience gained factory, RogLab will become part of the Rog Centre through RogLab has contributed significantly to and its current container-home will be recycled for the development of programming for the future a new use.

The drawing made by autonomous drawing dance of simple little robot that has pens as legs.

social purposes and not just for business gain. for creative professionals and students and a con- The future Rog Centre is to be based on the ceptual basis or context for justifying and promot- RogLab model as a dynamic institution, which is ing those activities. The first year has also shown responsive to prevailing social and economic cir- the limitations and challenges that still need to cumstances, thereby offering relevant and timely be addressed. Development of the Rog Centre as a support to designers and creative profession- new type of institution demands effective collabo- als seeking to meet the needs of contemporary ration between different levels of government – lo- society. cal, national and transnational. One of the most important priorities for the future is the need In the first year of RogLab operation, a great deal to strengthen alliances and partnerships. More has been achieved with respect to development emphasis needs to be placed on connecting crea- of services provided, the partnerships developed tive professionals in small companies with larger and engagement with local community. Most of industrial companies in search of a new creative the activities initiated at RogLab can be scaled- and economic boost. up to become part of the future Rog Centre and have the potential to be adapted to other A new service called RogMobile is currently being contexts. planned as a means for encouraging and sup- porting creative people in smaller cities and thus Three types of RogLab activities have been strengthening regional role of the RogLab. The www.roglab.si successfully implemented: cultural education, mobile unit will serve also to attract new partners www.mgml.si holistic support in the form of capacity building and/or potential investors. In terms of a future www.ljubljana.si

88 II. Project Second Chance Ljubljana | RogLab – the factory that is making itself 89 Methods and tasks of the Project Implementation Jan 2010 – Sep 2013 ›› SWOT-Analyses of Second ›› Stakeholder Workshops ›› Development Visions Chance ›› Utilisation Concepts ›› Site-Specific PPP Concept

›› Transnational PPP Concept

›› Transnational Marketing Study

›› Pilot Projects

›› Peer Review Visits

›› Moving Exhibition

›› Cultural Exchange

›› Management Plans

www.secondchanceproject.eu

90 91 Summary Pages 96/97: Detail of a historical spinning machine at the Leipzig Baumwollspinnerei

Summary

1. A SWOT analysis, which was developed to to assure its sustainability with an emphasis assess the development potential of each city on the use of new types of urban and cultural and selected site; heritage management. The Management Plan takes into account the results of the pilot 2. A development vision, which provided a investment projects carried out as part of SEC- This publication summarises the outcomes of the Venice (IT) succeeded in developing innovative general sketch of what owners and operators OND CHANCE and serves as a preliminary study Central European project SECOND CHANCE – From concepts and strategies for revitalising former of the former industrial sites could expect from for larger follow-up investment; Industrial Use to Creative Impulse. The brochure industrial sites through arts and culture. The cit- revitalisation; consists of two parts. ies participating in the project all faced similar 6. The pilot project constituted a key part of challenges in redeveloping former industrial sites: 3. A utilisation concept defining the whole revi- project implementation and was conceived as Part one presents the theoretical background former AEG factory in Nuremberg, HALLE 14 of the talisation process and describing in detail the a combination of pilot investment and pilot of urban revitalisation through arts and culture. former Cotton Spinning Mill in Leipzig, the former pilot investment; actions. Pilot investment was based on the Guest authors Prof. Dr. Klaus R. Kunzmann (DE) ROG factory in Ljubljana, the Arsenale in Venice long-term use concept developed, input from and Dr. Matjaž Uršicˇ (SI) place ideas and projects in and the tram depot in the St. Lawrence Quarter 4. A site-specific public-private partnership local stakeholders and know-how gained as a Europe focused on post-industrial site regenera- in Krakow. Each city posed the same questions, (PPP) concept for the sustainable financing result of developing site-specific PPP models. tion through culture and creative arts in a broader, sought to identify development opportunities and and management of the sites was one of the A parallel activity focused on pilot actions, critical perspective. to clarify goals. most important elements of SECOND CHANCE. which involved the cultural exchange between The concept was developed through an the partner cities; Part two characterises the SECOND CHANCE project The project defined several methods and tools, integrated approach based on involving local describing its main activities and organisational which were obligatory for all cities in the process of stakeholders in the design process; This brochure discusses how the cultural potential structure. Thanks to the project, public, public- developing and implementing concepts for long- of former industrial sites in participating cities equivalent and private partners from Krakow (PL), term use and financing for the participating sites. 5. A management plan was developed to har- was identified, developed and realised within the Leipzig (DE), Ljubljana (SI), Nuremberg (DE) and They were: ness relevant know-how for developing the site framework of SECOND CHANCE.

94 95 Resümee

Diese Publikation fasst die Ergebnisse des Projekts Nürnberg (DE) und Venedig (IT) innovative Konzepte 2. Entwicklungsvorstellung der Erwartungen 5. Verwaltungspläne um eine nachhaltige „SECOND CHANCE - From Industrial Use to Creati- und Strategien zur Revitalisierung ehemals von Eigentümern und Brachflächenmana- Entwicklung der Areale sicherzustellen. Diese ve Impulse“ zusammen. SECOND CHANCE wurde industriell genutzter Areale mit künstlerischen gern bezüglich der Revitalisierung. berücksichtigen die Folgen der im Rahmen des mit Mitteln des EU-Programms Central Europe und kulturellen Aktivitäten, um das ehemalige Projektes SECOND CHANCE getroffenen Pilot- kofinanziert. AEG-Gelände in Nürnberg, HALLE 14 der einstigen 3. Nutzungskonzepte, die den Bestim- maßnahmen und dienen zugleich als Studie für Baumwollspinnerei in Leipzig, die ehemalige ROG- mungsrahmen für die Revitalisierungs­ weitere Investitionen. Der erste Teil beleuchtet den theoretischen Hinter- Fahrradfabrik in Ljubljana, das Arsenale-Gelände prozesse vorgeben und die Pilotinves- grund des Projekts. Die Gastautoren Prof. Klaus R. in Venedig und das vormalige Straßenbahndepot titionen für die Standorte ausführlich 6. Die Pilotprojekte stellten eine Verknüpfung Kunzmann (DE) und Dr. Matjaž Uršič (SI) geben im Distrikt St. Lawrence in Krakau neu zu beleben. beschreiben. der Investitionen mit Pilotaktivitäten, die in kritischen Betrachtungen einen breiten Über- Alle Projektpartner waren dabei mit ähnlichen vorwiegend auf dem kulturellen Austausch blick über europäische Ideen und Projekte zur Herausforderungen, Möglichkeiten und Zielen 4. Konzepte öffentlich-privater Partner­ zwischen den Partnerstädten beruhten, dar. Revitalisierung urbaner Räume mit Kunst konfrontiert. schaften zur Erstellung eines nachhaltigen Sie waren somit die Schlüsselelemente der und Kultur. Finanzierungs- und Managementplans der Projektumsetzung. Bei der Umsetzung wurden folgende Methoden wiederbelebten Standorte. Diese Konzepte Der zweite Teil widmet sich ausführlich der Struk- und Werkzeuge angewendet: stellen eines der wesentlichsten Elemente Die vorliegende Broschüre dokumentiert, wie das tur und dem Inhalt von SECOND CHANCE. Im Laufe des Projektes dar und wurden unter Ein- Potential der ehemals industriell genutzten Areale des Projekts entwickelten öffentliche und private 1. SWOT-Analysen zur Identifizierung des Poten- beziehung der lokalen Interessenvertreter identifiziert, erforscht, bearbeitet und im Rahmen Partner aus Krakau (PL), Leipzig (DE), Ljubljana (SI), tials der einzelnen Standorte. entwickelt. des Projekts SECOND CHANCE umgesetzt wurde.

96 97 Sommario

contemplati nel progetto alcuni metodi e mezzi sicurarne uno sviluppo equilibrato, con una obbligatori: particolare attenzione rivolta all’impiego di nuove forme di gestione del patrimonio 1. Analisi SWOT, elaborata allo scopo di valutare urbano e culturale. Il piano di gestione il potenziale di ciascun luogo. tiene conto degli esiti delle azioni pilota in- traprese nell’ambito del progetto “Second 2. Visione di sviluppo, ovvero un profilo prelim- chance”, servendo al contempo da studio inare delle aspettative dei proprietari e degli preliminare per ulteriori investimenti. La presente pubblicazione riassume gli esiti Nell’ambito del progetto, partner pubblici e operatori di siti post-industriali in merito alla conseguiti dal progetto “Second chance – Dall’uso privati provenienti da Cracovia (PL), Lipsia (DE), rivitalizzazione di tali aree. 6. Progetto pilota che costituisce un col- industriale all’impulso creativo” cofinanziato dal Lubiana (SL), Norimberga (DE) e Venezia (IT) legamento fra gli investimenti e le azioni Programma CENTRAL EUROPE. La brochure è arti- hanno elaborato concezioni e strategie innova- 3. Concezione di utilizzo, volta a definire l’intero pilota. Ha rappresentato un elemento di colata in due parti. tive finalizzate alla rivitalizzazione di complessi processo di rivitalizzazione e a descrivere det- importanza cruciale in fase di realizzazi- post-industriali attraverso l’arte e la cultura. Le tagliatamente l’investimento pilota relativo al one del progetto. L’investimento pilota La prima parte è volta a presentare lo sfondo città partner che hanno partecipato al pro- luogo contemplato. è stato basato sugli esiti della concezione teoretico della rivitalizzazione delle aree urbane getto si sono trovate dinnanzi alla stessa sfida di utilizzo, sul contributo degli interessati attraverso l’arte e la cultura. Gli autori ospiti – il finalizzata alla gestione delle ex aree industriali: 4. Concezione di partenariato pubblico- presenti in loco e sul know-how conseguito prof. Klaus R. Kunzmann (DE) e il dottor Matjaž l’ex fabbrica AEG di Norimberga, HALLE 14 privato, elaborata allo scopo di creare un durante l’elaborazione della concezione Uršič (SL) hanno presentato un’ampia panoramica, all’interno del Cotonificio Mill di Lipsia, l’ex fab- piano equilibrato di finanziamento e gestione PPP. Parallelamente all’investimento non priva di spunti critici, incentrata sulle idee e brica ROG di Lubiana, l’Arsenale di Venezia e la dei luoghi sottoposti a rivitalizzazione. Ha cos- sono state svolte azioni pilota basate in sui progetti di rivitalizzazione attraverso la cultura rimessa tramviaria nel Distretto di San Lorenzo tituito uno degli elementi più importanti del gran parte sullo scambio culturale fra le e le industrie creative in Europa. di Cracovia. I partner ha condiviso domande, progetto. Questa concezione è stata elaborata città partner. opportunità e scopi comuni. con la partecipazione e l’impegno dei portatori La seconda parte espone i tratti peculiari del pro- di interesse locali. La brochure illustrerà il modo in cui il poten- getto “Second chance” illustrando nei dettagli sia le Durante il processo di elaborazione e adozione ziale culturale dei siti post-industriali è stato azioni intraprese che la struttura organizzativa del di una concezione di utilizzo e finanziamento di 5. Piano di gestione, contenente un know-how identificato, analizzato, elaborato e realizzato progetto. lungo termine delle aree in questione sono stati riferito a ciascun luogo e finalizzato ad as- nell’ambito del progetto “Second chance”.

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wania tych przestrzeni, partnerzy posługiwali się 5. Plan zarządzania zawierający know-how jednakowymi, określonymi w projekcie metoda- dla danego miejsca, którego celem jest mi i narzędziami: zapewnienie harmonijnego i zrównoważonego rozwoju z naciskiem na wykorzystanie nowych 1. Analiza SWOT, która została opracowana form zarządzania miejskim i kulturowym w celu określenia potencjału każdego dziedzictwem. Plan zarządzania uwzględnia z miejsc. skutki działań pilotażowych realizowanych w ramach projektu „Druga Szansa”, jednocześnie Publikacja podsumowuje wyniki realizacji projek- zacyjnej projektu. W ramach projektu partnerzy 2. Wizja rozwoju mająca charakter wstępnego służąc jako wstępne studium dla dalszych tu „SECOND CHANCE/Druga Szansa – Od funkcji publiczni i prywatni z Krakowa (PL), Lipska (DE), zarysu oczekiwań właścicieli i operatorów inwestycji. przemysłowej do przemysłów kreatywnych”, Lublany (SI), Norymbergi (DE) i Wenecji (IT) opra- obiektów poprzemysłowych co do rewitali- współfinansowanego ze środków Programu dla cowali innowacyjne koncepcje i strategie, mające zacji tych obszarów. 6. Projekt pilotażowy, stanowiący połączenie Europy Środkowej. Broszura składa się z dwóch na celu rewitalizację kompleksów poprzemysło- inwestycji i działań pilotażowych, był kluczow- części. wych poprzez sztukę i kulturę. Miasta partnerskie, 3. Koncepcja Wykorzystania określająca ym elementem realizacji projektu. Inwestycja biorące udział w projekcie, stanęły w obliczu tych cały proces rewitalizacji i opisująca pilotażowa została oparta na wypracowanej Część pierwsza przedstawia teoretyczne tło samych wyzwań związanych z zagospodarowa- szczegółowo inwestycję pilotażową dla koncepcji wykorzystania, wkładzie ze strony rewitalizacji przestrzeni poprzemysłowych przez niem byłych terenów przemysłowych: dawnej danego miejsca. lokalnych interesariuszy i know-how zdobytym kulturę. Gościnni autorzy prof. Klaus R. Kunz- fabryki AEG w Norymberdze, HALLE 14 w dawnej podczas opracowywania koncepcji PPP. Równo- mann (DE) i dr Matjaž Uršič (SI) przedstawili w przędzalni bawełny w Lipsku, dawnej fabryki ROG 4. Koncepcja partnerstwa publiczno- legle z inwestycją prowadzone były działania swoich tekstach szersze spojrzenie, nie wolne od w Lublanie, Arsenału w Wenecji i zajezdni tram- prywatnego opracowana dla stworzenia pilotażowe oparte w dużej mierze na wymi- krytyki, na europejskie idee i projekty rewitalizacji wajowej w Kwartale św. Wawrzyńca w Krakowie. zrównoważonego planu finansowania i anie kulturalnej między miastami partnerskimi. poprzez sztukę i przemysły kreatywne. Partnerów połączyły te same pytania, możliwości zarządzania zrewitalizowanymi miejscami, i cele. przygotowana przy udziale i zaangażowaniu Broszura prezentuje jak kulturalny potencjał Część drugą stanowi charakterystyka projektu lokalnych interesariuszy. Opracowanie obiektów poprzemysłowych został zidentyfikowa- „Druga Szansa” z wyszczególnieniem podjętych W procesie opracowywania i wdrażania długoter- takiej koncepcji stanowiło jeden z kluczow- ny, opracowany i wykorzystany w ramach projektu działań oraz uwzględnieniem struktury organi- minowych koncepcji wykorzystania oraz finanso- ych elementów projektu. „Druga Szansa”.

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Publikacija povzema rezultate projekta „SECOND ga (DE) in Benetk (IT) izdelali inovativne koncepte in 2. Razvojna vizija je orisala pričakovanja lastni- dice pilotnih dejavnosti, ki so bile realizirane CHANCE /Druga priložnost – Od industrijske rabe strategije, katerih namen je revitalizacija postin- kov in upravljavcev postindustrijskih objektov v „Drugi priložnosti”, hkrati pa služi tudi kot do ustvarjalnega utripa”, sofinanciranega s sredstvi dustrijskih kompleksov skozi umetnost in kulturo. glede revitalizacije teh območij. uvodna študija za nadaljnje naložbe. Programa Srednja Evropa. Brošura je sestavljena iz Partnerska mesta, ki sodelujejo v projektu, so se dveh delov. soočila s podobnimi izzivi pri preoblikovanju bivših 3. Zasnova uporabe daje smernice procesu 6. Pilotni projekt je bil ključni element za industrijskih območij: nekdanje tovarne AEG v revitalizacije in opisuje možne uporabe. uresničitev projekta. Pilotna naložba temelji Prvi del predstavlja teoretično ozadje revitalizacije Nuernbergu, Halle 14 v nekdanji bombažni pre- na rezultatih koncepta uporabe, vložka s mestnega prostora skozi umetnost in kulturo. Go- dilnici v Leipzigu, nekdanje tovarne ROG v Ljubljani, 4. Zasnova javno-zasebnega partnerstva, ki strani lokalnih deležnikov ter znanj in stujoča avtorja prof. Klaus R. Kunzmann (DE) in dr. Arsenala v Benetkah in tramvajske remize v v četrti je nastala, da bi ustvarili uravnotežen načrt izkušenj, pridobljenih v času izdelave Matjaž Uršič (SI) sta v svojih besedilih predstavila svetega Wawrzynca v Krakovu. Partnerje so poveza- financiranja in upravljanja revitaliziranih zasnove javno-zasebnega partnerstva. širši in kritičen pogled na evropske ideje in projekte la enaka vprašanja, izzivi in cilji. prostorov, je bil eden od važnejših elementov Vzporedno s pilotno naložbo so bile izvajane revitalizacije skozi kulturo in kreativne industrije. projekta. Ta koncept je bil pripravljen s sode- pilotne dejavnosti, ki so v veliki meri V procesu izdelave in uvajanja dolgoročnega lovanjem in angažmajem lokalnih deležnikov. temeljile na kulturni izmenjavi med Drugi del opisuje značilnosti projekta „Druga koncepta uporabe ter financiranja teh prostorov so partnerskimi mesti. priložnost”, zlasti poudarja izvedene ukrepe ter partnerji delili orodja in metode: 5. Načrt upravljanja obsega know-how za dani organizacijsko strukturo projekta. prostor, katerega cilj je zagotovitev uravno- V brošuri je predstavljeno, kako so partnerji 1. Analiza PSPN je bila izdelana z namenom, teženega razvoja s poudarkom na uporabi identificirali, raziskali, izdelali in uresničili kulturni V okviru projekta so javni in zasebni partnerji iz da bi določili potencial vsakega od teh novih oblik upravljanja z mestno in kulturno potencial postindustrijskih objektov v okviru Krakova (PL), Leipziga (DE), Ljubljane (SI), Nuernber- prostorov. dediščino. Načrt upravljanja upošteva posle- projekta „Druga priložnost”.

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Publisher Graphic Design Project SECOND CHANCE Alexander Müller, büro international berlin

Represented by © 2013 Project SECOND CHANCE SECOND CHANCE Lead Partner Amt für Kultur und Freizeit (KUF)/ © 2013 for the texts: the authors Department for Culture and Leisure www.kuf-kultur.de © for the images Gewerbemuseumsplatz 1 Robert Beske: 56, 57, 61, 91; Denis Bury: 54, 90403 Nürnberg 59; Alessandra Chemollo: 64, 66, 68; Deutsches Tel: +49 (0)911 231-14817 Technikmuseum Berlin: 40/41; Miha Fras: 85, 88; Fax: +49 (0)911 231-5887 Stefan Günther: 51, 52; Miran KambiČ : 43, 80, 81, Luis Prada, [email protected] 82; MAP studio – Magnani Pelzel, Architetti As- Thomas Müller, sociati: 67; Giovanni Mancuso: 70; Yvonne Michiluk: [email protected] 49; Michael Moser: 58, 60; Domen Pal: 84; Matevž Paternoster: 82, 83; Nils Petersen: 46; Tilen Sepič: Coordinator 87; Spinnerei: 92/93; Stadt Nurnberg: 3; Nadine Anna Długosz Rodler: 48, 50; Iwo Wachowicz: 43, 72, 74, 75, 76, 77, 78,79; Fang Wang: 4/5, 6, 12, 14, 24, 28, 34, 36, Executive Editors 90; Nada Žgank: 86 Anna Długosz cover (from left to right): Stefan Günther, Iwo Karoline Mueller-Stahl, Konzepte Texte Wachowicz, Nada Žgank, Robert Beske, Alessandra Editionen, Leipzig Chemollo; Ute Volz cover back (from top to bottom): Nils Petersen, Denis Bury, Alessandra Chemollo, Iwo Wachowicz, Text Contributors Miran KambiČ Franziska Görmar, Klaus R. Kunzmann, Jürgen Markwirth, Matjaž Uršicˇ Nuremberg: Thomas Müller, Luis Prada, Michael Schels, Bertram Schultze All rights reserved; no part of this publication Leipzig: Monica Sheets, Ute Volz may be reproduced, stored in a retrieval system Venice: Ambra Dina, Carole Maignan or transmitted in any form or by any means, Krakow: Grzegorz Grzybczyk, electronic, mechanical, photocopying, recording Ewelina Wawrykiewicz or otherwise, without prior written permission Ljubljana: Urška Jurman, Meta Štular from the publisher.

104 The transnational project SECOND CHANCE connected public entities, public-equivalent institutions and private companies from Germany (Nuremberg, Leipzig), Italy (Venice), Poland (Krakow) and Slovenia (Ljubljana) that are redeveloping former industrial sites. The common goal was to use art and culture to provide new content for giving these sites a ‘second chance’ by creating sustainable operational and financial structures through public-private partnerships.

This publication introduces concepts of revitalisation and illustrates how they have been applied in the project. Guest authors Prof. Dr. Klaus R. Kunz­mann and Dr. Matjaž UršiČ provide a view on cultural and creative regeneration projects, placing them into a broader context.